https://londonhuawiki.wpi.edu/api.php?action=feedcontributions&user=Kfconroy&feedformat=atomLondonhua WIKI - User contributions [en]2024-03-28T12:48:31ZUser contributionsMediaWiki 1.31.8https://londonhuawiki.wpi.edu/index.php?title=Grunge_in_London&diff=19422Grunge in London2017-06-22T16:25:31Z<p>Kfconroy: </p>
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<div>by [[User:Kfconroy|Katharine Conroy]]<br><br />
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{{Infobox<br />
|title = Grunge in London <br />
|bodystyle = width:25em<br />
|image = [[File:kurt-cobain-1186758_640.jpg|x450px|alt=Popular Grunge Bands from the US and London]]<br />
|label1= InspiredImages. (2016). Kurt Cobain photograph. Licensed under Creative Commons Zero on Pixabay.com <br />
|data1=<ref> InspiredImages. (2016, February 11). Kurt Cobain [Photograph]. Retrieved from: https://pixabay.com/en/kurt-cobain-singer-musician-1186758/ </ref><br />
}}<br />
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__TOC__<br />
<br />
=Abstract=<br />
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For this milestone, I am doing a comparison of American and London grunge music, whose time periods, late 1980's, ran almost simultaneous to each other. I delved into what grunge music is and the cultural and societal issues that were often incorporated into the music. These social issues were used as inspiration to the artists and were often incorporated in the sound and lyrics of these songs. <br />
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This project is very special to me due to the fact that the music has been a great part of my life since I was a child playing the violin. During high school, I took many music classes and was in both band and chorus. So this project incorporates my propensity to music, more specifically grunge music, and allows me to explain this misunderstood and often confusing genre of music. <br />
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<br />
=Introduction=<br />
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This project is meant to be used as an introduction to the little-known genre of grunge, which dominated the music scene during the late 1980’s and early 1990’s. I produced a guide to listening to grunge music along with an accompanying deconstructed “mixtape” with an analysis to distinguish the differences between American and London grunge music. For this “mixtape”, I had many a myriad of choices for what songs to put in it, but my decisions on the songs and artists decided were a mix of popularity, memorial, and geographic location. “Smells Like Teen Spirit” by Nirvana was chosen due to the fact that Nirvana was one of the most iconic symbols of the grunge movement and “Smells Like Teen Spirit” is number 9 on RollingStone’s list of “500 Greatest Songs of All Time” <ref> 500 Greatest Songs of All Time. (2011, April 07). Retrieved June 20, 2017, from http://www.rollingstone.com/music/lists/the-500-greatest-songs-of-all-time-20110407/nirvana-smells-like-teen-spirit-20110516</ref>. Soundgarden’s Black Hole Sun was chosen in memory of the late Chis Cornell who recently passed away. This song was creepy and unique, which reflected that grunge movement. I choose both Glycerin by Bush and Creep by Radiohead because they were both grunge bands that came out of the England/ London area. They both oozed of angst and demonstrated how the grunge movement spread to other areas of the world. <br> <br><br />
This topic has been a part of the discussion since its appearance in the late 1980’s, however much of it has been about the culture that surrounded the movement. A wonderful work that covered this movement with an indiscriminate and impartial eye was Catherine Strong’s novel ‘‘Grunge: Music and Memory’’<ref> STRONG, C. (2016). GRUNGE: music and memory. S.l.: ROUTLEDGE.</ref> However in my research, I found that there is very little that covered the lasting effects and spread of grunge music to other countries. So I researched the culture of the grunge movement and its affects of the surrounding cultures. This project is covering material that is new and exciting and requires much research. <br />
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<br />
=Background=<br />
<br><br />
{{Infobox<br />
|title = Start of Grunge: Seattle, WA<br />
|bodystyle = width:25em<br />
|image = [[File:buildings-1846133_640.jpg|x450px|alt=Popular Grunge Start]]<br />
|label1= Pexels. (2015). Seattle photograph. Licensed under Creative Commons Zero on Pixabay.com<br />
|data1= <ref> Pexels. (2015, August 23). Seattle [Photograph]. Retrieved from: https://pixabay.com/en/buildings-city-cityscape-downtown-1846133/ </ref><br />
}}<br />
Grunge music is classified as a genre of rock music that came to fruition from the late 1980’s to the early 1990’s. During this time grunge did not only appear as a genre of music, it also became a fashion trend that donned an unkempt and dirty look. Grunge music was started in Seattle, Washington and gravitated around the independent record label Sub Pop. It spread from its roots, in Seattle, to many other countries and cities such as London. Sub Pop produced groups such as Soundgarden, Mudhoney, Green River, and Nirvana (before they signed with a major label). Grunge alternatively became known as the Seattle Sounds due to its origins in Seattle. Grunge was not exactly a new sound but more of a combination of different genres of rock. Musically and attitudinally grunge was similarly related to heavy metal, punk, and alternative, but it also had other components such as thrasher metal, which came about in the mid-1980’s during the split of heavy metal into a number of different genres. This added to the myriad of different sounds in the music scene. Therefore, grunge became a mosaic of rock with many picking and choosing the sounds and agendas they supported. Due to this, it’s almost impossible to give a complete and definite definition or sound to grunge because it meant different things to different people, but they all housed similar themes and attitudes. <br />
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Generally, the grunge sound contained a “dirty” (Strong, 2016, p. 18)<ref> STRONG, C. (2016). GRUNGE: music and memory. S.l.: ROUTLEDGE.</ref> and rough sound, which is probably where its name came from. This was especially notable in the beginning when much of the music produced was done on a small budget, with a lack of expertise, and a lack of professionalism. The music itself can be described a “visceral” (Strong, 2016, p. 18)<ref> STRONG, C. (2016). GRUNGE: music and memory. S.l.: ROUTLEDGE.</ref> with guitars and low bass vacillating between low and thundering. It reflected the angst and hurt that bands felt due to their betrayal by society. Many wrote in their verse and refrain form, with lyrics addressing problems such as youth suicide, rape, drug dependency and depression, which were deemed taboo by society (Strong, 2016, p. 17). They used the distorted sound as a symbol of how polluted the world is, therefore they avoided the use of virtuoso (Strong, 2016, p. 17) <ref> STRONG, C. (2016). GRUNGE: music and memory. S.l.: ROUTLEDGE.</ref> guitar because it was used in mainstream rock and took away from the lyrics. All of the music was sharp and deliberate, which was a great contrast to the music of the late 1980’s. This sharp and deliberate sound was typically created by electric guitar, drums, low bass, and vocals, but may utilize other instruments. <br />
<htmltag tagname="iframe" width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/151979621&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false"></htmltag><br />
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This movement started and ended very quickly but left many awakened to the possibilities that music has. The music began as a way to attract attention to public issues and left many with the idea that they could start a band to address an issue that they had. Grunge music became part of the mainstream and Nirvana’s album ‘‘Nevermind’’ surpassed Michael Jackson’s ‘‘Dangerous’’ at No. 1 on the Billboard (Rutherford, 2016). <ref> Rutherford, K. (2016, September 23). Nirvana's 'Nevermind': 9 Chart Facts About the Iconic Album. Retrieved May 17, 2017, from http://www.billboard.com/articles/columns/chart-beat/7518783/nirvana-nevermind-nine-chart-facts-anniversary </ref> This impression on the mainstream allowed many bands like Nickelback and Creed to enter the music scene after the grunge era, due to the fact that it “was the catalyst to reconstructing the mainstream music industry to allow a greater inclusion different music genre” (Strong, 2016, p. 20) <ref> STRONG, C. (2016). GRUNGE: music and memory. S.l.: ROUTLEDGE.</ref> . Grunge made a lasting impact on both society and the music industry, which will affect generations to come. <br />
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<br><br><br />
==Where and when did this grunge music start? ==<br />
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In the United States, grunge started in the late 1980’s in Seattle, Washington and mostly revolved around the record label company Sub Pop. During that time, Sub Pop released grunge bands such as Soundgarden and Green River, who later became known as Pearl Jam. However, Grunge music really began to gain recognition when they released Nirvana’s first album ‘‘Bleach’’. Later on, Nirvana would sign with the major label company David Geffen Company (DGC) <ref>Official Nirvana Website: Complete Discography, Videos and more. (n.d.). Retrieved May 20, 2017, from http://www.nirvana.com/ </ref> as they gained more popularity. <br />
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Seattle became the hotspot with many migrating to the area to get a taste of this new sound. During this time, other bands started to sign with record labels interested in making money from this new Seattle sound. These bands signed with the agreement that they had “artistic” (Strong, 2016, p. 22) <ref> STRONG, C. (2016). GRUNGE: music and memory. S.l.: ROUTLEDGE.</ref> control over the music they produced and this allowed the music to stay as intended by the bands.<br />
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Grunge gained the public’s attention in 1991 during the release of Nirvana’s album “Nevermind”. This was when grunge entered the mainstream. Record companies started searching for these bands outside of the Seattle area with grunge sound and found groups like Stone Temple Pilots and Smashing Pumpkins, who gained popularity in the mainstream. Grunge became so omnipotent that it spread all across America to places such as London with Nirvana or more specifically Kurt Cobian as its spokesperson. <br />
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London became no exception to the grunge movement, with Nirvana infiltrating the mainstream. In the height of the grunge music movement in the US, came an alternative rock band from England called Radiohead. They started their music career in 1991. <ref> Radiohead Biography. (n.d.). Retrieved May 18, 2017, from http://www.rollingstone.com/music/artists/radiohead/biography </ref> Their music had a sound that was similar to grunge music and because of that EMI, a major record company who produced famous groups such as The Beatles and The Beach Boys signed them to their label<ref> EMI. (n.d.). Retrieved May 19, 2017, from http://www.universalmusic.com/label/emi/ </ref>. This became an inspiration to many other groups, such a Bush from London, England, who began in 1992 during the height of the movement. However, the movement never gained as much speed as it did in America. Interestingly, Bush’s songs gained more headway in American than in London. Much of the grunge’s popularity ended when Kurt Cobain, the principal singer of the grunge movement, passed away of an apparent suicide. It would have been very interesting to see where the grunge music genre would have gone if it hadn’t ended so abruptly. <br />
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{{Infobox<br />
|title = Emotions in Grunge <br />
|bodystyle = width:25em<br />
|image = [[File:fear-2083648_640.jpg|x450px|alt=Fear and Anxiety]]<br />
|label1= Johnhain. (2016). Fear and Anxiety photograph. Licensed under Creative Commons Zero on Pixabay.com<br />
|data1= <ref> Johnhain. (2016, March 22). Fear and Anxiety [Photograph]. Retrieved from: https://pixabay.com/en/fear-emotion-anxiety-vulnerability-2083649/ </ref><br />
}}<br />
<br />
==What did it represent? ==<br />
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Grunge was not only a music genre that evolved from the rock genera in the late 1980’s to 1990’s, it was also a culture and catalyst for social issues of the time. The music was often described very somber, sad, and angry, which is what many of the artists were trying to portray because they wanted to let the audience know the pain and angst they felt. It was very emotional it often contained themes of alienation, rejection, drug dependency, depression, alcoholism, angst, and anger. (Strong, 2016, p.17-19) This sound and attitude resonated very well with the youth of this time period and those affected by those problems. So it was not unreasonable that the movement spread across America with the unmentionable issues it was addressing and its unique sound. As far as spreading to other parts of the world, these issues carried a similar weight to the people of places such as London. Many felt forgotten and rejected by the society because of the emotions they felt. <br> <br><br />
Grunge music also has a greater occurrence of social issues than any other rock genres in the 1990's (Strong, 2016, p.18). The issues that they were covering were universal, which is why it had a great reception by people. It was broadcasting the issues of the poor and forgotten. Both in the United States and London, many of the youth faced the same problems, so there was really no difference in what it represented because the message was universal. The people wanted acceptance from a society that often hides issues seen as taboo and society that forces those who don’t fit in to conform. Many wore labels free clothing that rejected the ideas of commercialism due to the fact that it would have them conform (Strong, 2016, p.17). There was no authenticity in conformity and big corporations became the enemy of these people because they wanted people to conform to their standards. This was why many artists stayed with smaller corporations, so they had control over their sound with no input from those selling their records (Strong, 2016, p.16). In the attitude of acceptance, grunge artist often supported those who were underrepresented and discriminated against. They supported women’s rights and unlike their 1960’s counterparts they did not use sexist lyrics or lyrics that slandered women. Nirvana was also known to headline a fundraiser that “opposed the proposed institutionalized discrimination against gays and lesbians” (Strong, 2016, p. 28) <ref> STRONG, C. (2016). GRUNGE: music and memory. S.l.: ROUTLEDGE. </ref>. They also organized a concert to alert the population of the “plight women of the Balkan conflicts” (Strong, 2016, p. 28) <ref> Novoselic, K. (2004). Of Grunge and Government: Let's Fix This Broken Democracy. NY: RDV Books. </ref>. <br><br><br />
However, there a dark side to this movement. Many of the problems that these artists faced were an everyday struggle that could not be relieved. These dark issues of depression, drug dependency, alienation, and authenticity many times remained unresolved and some self-medicated to ease their pain. Grunge represented these peoples’ pain, however, not all of them were strong enough to conquer their demons and they fell victim to their problems. Most notably, Kurt Cobain struggled with depression and drug dependency and was found dead of an apparent suicide. He struggled with drugs and staying clean his music can definitely speak for his pain and angst. He was not the only to have his demons, but with his death came the beginning of the end of the grunge era. Still today many still suffer from these issues and more recently Soundgarden’s lead singer Chris Cornell lost his battle with depression. This genera, while it helped those suffering by giving those who suffered someone to relate to, also had its own issues. Grunge left a both positive and negative affect on the world and there is much still to be learned from it today. <br />
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== How did Grunge Music affect the people and who did it effect? ==<br />
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The grunge movement affected those of the X generation or people born after the Baby Boomers. It gave the youth of the Generation X an identity for those who felt rejected because of their inability to fit in with society. The youth of this generation used this music as a rebellion against society and any higher power such as parents. It was considered the “cool” and “in” thing and a cultural right of passage. Many of youth affected were facing changes in their own lives and used grunge as a release. They were considered rebellious teenagers and many interviewed by Catherine Strong <ref> STRONG, C. (2016). GRUNGE: music and memory. S.l.: ROUTLEDGE. </ref> considered teen hood as a time where everything was confusing, so at the age of 13 the music really appealed to them (Strong, 2016, p. 131- 150). In her interviews, Catherine asks those of Generation X their memories of grunge and many see the music as more of nostalgia than anything else. Many people of that generation have said that the era was important to their development into adulthood, but they, like everyone else, had to grow up. Today, grunge is still resonates with the younger generation and its ideas can be seen in the rock music that came after it. It has been said by Kruse <ref> Kruse, H. (2003). Site and sound: understanding independent music scenes. New York: Peter Lang.</ref> in her novel ''Site and sound: understanding independent music scenes'' that grunge “led to a restructuring of the mainstream music industry to allow greater inclusion of marginal musics, and the subsequent fragmentation of the popular music audience.” (Strong, 2016, p. 20)<ref>Strong, Catherine. Grunge: Music and Memory (Ashgate Popular and Folk Music Series) (p. 20). Taylor and Francis. Kindle Edition. </ref>. Alternative bands such as Creed and Nickelback come to popularity while utilizing the visual and musical components of grunge. Still today many year after the end of the grunge movement, grunge has its influences on modern culture in 2017.<br />
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=Section 2: Guide to appreciating Grunge music =<br />
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The purpose of this guide is to allow people the opportunity to listen to and appreciate grunge music. It is difficult to have people understand grunge music when they are not given a background to it. Therefore, it is important to have a comprehensive and detailed analysis of the songs being listened to ensure comprehension of the songs. So below are four selected songs by four different artists to show the diversity of grunge music and to also demonstrate the many similarities and distinguishing features. For this “mixtape”, I had many a myriad of choices for what songs to put in it, but my decisions on the songs and artists decided were a mix of popularity, memorial, and geographic location. “Smells Like Teen Spirit” by Nirvana was chosen due to the fact that Nirvana was one of the most iconic symbols of the grunge movement and “Smells Like Teen Spirit” is number 9 on RollingStone’s list of “500 Greatest Songs of All Time” <ref> 500 Greatest Songs of All Time. (2011, April 07). Retrieved June 20, 2017, from http://www.rollingstone.com/music/lists/the-500-greatest-songs-of-all-time-20110407/nirvana-smells-like-teen-spirit-20110516</ref>. Soundgarden’s Black Hole Sun was chosen in memory of the late Chis Cornell who recently passed away. This song was creepy and unique, which reflected that grunge movement. I choose both Glycerin by Bush and Creep by Radiohead because they were both grunge bands that came out of the England/ London area. They both oozed of angst and demonstrated how the grunge movement spread to other areas of the world. <br />
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While listening to this deconstructed “mixtape” it is recommended, that for one’s full enjoyment, to read the analysis before listening to the song. It will give pointers and details to pay attention to that will enhance the listening experience. Also listening to these songs multiple times may help in the appreciation process. Also feel free to look up other songs and bands such as Pearl Jam, Alice In Chains, Mudhoney, Smashing Pumpkins and so many others. There were many other bands from this era that one may also enjoy in addition to the listed songs and artists. <br />
Enjoy!<br />
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== Kat's Deconstructed Mixtape ==<br />
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==Smells Like Teen Spirit ==<br />
<htmltag tagname="iframe" id= width="560" height="315" src="https://www.youtube.com/embed/hTWKbfoikeg" frameborder="0" allowfullscreen></htmltag> <br><br />
Artist: Nirvana <br><br />
Album: Nevermind <br><br />
Released: 1991 <br><br />
Buy here: https://itunes.apple.com/us/album/nevermind/id485495703<br />
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===Smells Like Teen Spirit Analysis: ===<br />
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Nirvana was probably one of the most well-known grunge bands to date with its lead singer Kurt Cobain. Today, many know the band by the yellow and black smiley face with the crossed out eyes or the album cover of the naked baby swimming toward the dollar bill, but they were very prolific in their short time as a band. Smells like Teen Spirit was one of the hits on Nevermind album, which sparked the whole grunge movement, which is why I chose this song. Nirvana became the foundation of grunge music and many used this group as inspiration for their own. Therefore, it is very important to include this song and group to use as a comparison to the others. <br />
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When the song first opens, you can hear the distorted guitar sound strumming chords for about the first two measures until the crashing of the drums and cymbals join in. The distorted guitar and large riffs became a staple and signature of the grunge era and will be heard in almost all grunge music. This song will vacillate between the quiet verses and the roaring refrain. As said before in the background, much of grunge music heavily utilized these drastic dynamics that would alternate between forte and piano and very little in between. Also, note the low and burnt out quality of Kurt Cobain’s voice. His voice is very distinct and very easy to differentiate from other grunge bands. <br />
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This song is very hard to understand both lyrically and physically, but it is easy to hear the angst and hurt dripping from the lyrics. Cobain’s low and burnt out voice along with the blasting guitars make the lyrics very hard to hear and a lot of the time the lyrics sounds muffled. However, the lyrics themselves often sound like they are talking in riddles. This can be seen in the first verse: <div style="text-align: center;"> Load up on guns <br>Bring your friends <br>It's fun to lose and to pretend <br>She's overboard, self-assured <br>Oh no I know, a dirty word <ref> Smells Like Teen Spirit (Boombox Rehearsals) - Nirvana. (n.d.). Retrieved May 20, 2017, from https://play.google.com/music/preview/Tv7xaljcxgybxov7bvog6bslqqu?lyrics=1&utm_source=google&utm_medium=search&utm_campaign=lyrics&pcampaignid=kp-lyrics</ref></div> <br> One can attempt to see from these lyrics Cobain’s feelings of alienation by society and forced conformity or the realities of depression. It was well know that he was diagnosed with both ADD and Bipolar Disorder, aka Manic Depression <ref> Jamison, K. R. (n.d.). Kurt Cobain and manic depression. Retrieved June 20, 2017, from http://www.bipolar-lives.com/kurt-cobain-and-manic-depression.html</ref>. So the depression, and loneliness he felt was due to a mental disorder he had no control over. Though, it’s difficult to define an explicit meaning to the lyrics due to the fact that Kurt Cobain did not reveal the true meaning behind these lyrics, but many can make guesses at what it was referring to because of his own depression. So when listening, look for the riffs in the guitar chords, the distorted sound, and the rough lyrics. Also, keep in mind the anger and hurt heard during the loud chorus and the alienation riddled in the lyrics. It is very important to keep this song in your head when listening to the others for comparison to this original. <br />
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== Glycerin ==<br />
<htmltag tagname="iframe" id= width="560" height="315" src="https://www.youtube.com/embed/hOllF3TgAsM" frameborder="0" allowfullscreen></htmltag> <br><br />
Artist: Bush <br><br />
Album: Sixteen Stone <br><br />
Released: 1994 <br><br />
Buy here: https://itunes.apple.com/gb/album/sixteen-stone-remastered/id925879035<br />
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===Glycerin Analysis: ===<br />
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Bush is a band from London, England that became popular at the end of the grunge era, so they technically count as post-grunge. It was headed by its main singer and guitarist Gavin Rossdale <ref> About. (n.d.). Retrieved May 21, 2017, from http://bushofficial.com/about </ref>. Ironically they never really became popular in the UK, but they did gain a great deal of popularity in the United States with their song Glycerin topping the Alternative Billboard charts in 1995. <ref> Bush. (n.d.). Retrieved May 20, 2017, from http://www.billboard.com/artist/1486092/Bush/chart?f=377</ref>. They are still producing music today with their latest album “Black and White Rainbows” and they haven’t lost their grunge/post-grunge style. This song and artist was selected because it not only showed the spread of the grunge movement to places such as London, but it also showed the dramatic change in style as the movement came to its end. Bush clearly had a grunge sound, but they did deviate a bit form the pattern, which was set by Nirvana.<br />
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The song begins with distorted guitar chords and dissonant echoing that is then accompanied by another guitar. This song is a bit different than the prior with it containing guitar, vocals, violin, and cello, which is very interesting because the use of violin and cello were almost non-existent in grunge music. The main sound would be guitar and drum set, but in Glycerin there were not any drums. Glycerin also did not have the intense dynamics that could be heard in Smells Like Teen Spirit. There was still the vacillation between forte and piano chorus and refrain, but it was not great. The ending of the song is also very unique with it ending in the cello and violin playing dissonant chords. It’s apparent that this song was less about anger and pain, but it more about depression and a failed relationship. Like Kurt Cobain, Gavin Rossdale had a very course and gravelly voice quality. Much of this song carried the characteristics of typical grunge music but with some variation marking the end of true grunge sound.<br />
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Bush’s Glycerin was not as lyrically mystifying or physically hard to hear. Even though Gavin did have a gravelly and low voice, there was more annunciation to the lyrics being sung. So you can actually hear what is being said and also the lyrics aren’t as confusing and coded. It is easy to grasp the idea of this song because of the lyrics <div style="text-align: center;"> Everything's gone white <br> And everything's gray<br> Now you're here now you're away <br> I don't want this <br> Remember that <br> I'll never forget where you're at <ref>Bush: Glycerin. (n.d.). Retrieved May 21, 2017, from http://www.metrolyrics.com/glycerine-lyrics-bush.html </ref> </div> <br> shows the effects of an being left cyical to the world. These lines talk a lot about being sad to believe that all good in the world is self motivated and nothing is real (Fuse, 2012, 2:50- 3:14) <ref>[Fuse]. (2012, April 30). Gavin Rossdale Explains "Glycerine" - Inside the Lyric [Video File]. Retrieved from https://www.youtube.com/watch?v=0m0rWnz7Jjg </ref>. You can hear the sadness and self-doubt that the person is feeling. The violin and cello give a somber sound with the legato and held out notes. His regret can be seen in the lyrics <div style="text-align: center;"> Could have been easier on you <br>I couldn't change though I wanted to <br> Should I have been easier by three<br />
<br> Our old friend fear and you and me <ref>Bush: Glycerin. (n.d.). Retrieved May 21, 2017, from http://www.metrolyrics.com/glycerine-lyrics-bush.html </ref> </div> <br>. He is thinking about all that he could have done or been to make his significant other stay and love him. So when listening, look for the distorted guitar, violin, cello and sad sound. Keep in mind the theme of regret and self-doubt for in this song and see how it continues the grunge theme even at the end of the movement with some variation. <br />
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==Black Hole Sun ==<br />
<span style="color:red"> '''''Seizure warning <br><br />
Warning the video is very creepy may not be suitable for all viewers!''''' </span> <br> <br><br />
<htmltag tagname="iframe" id= width="560" height="315" src="https://www.youtube.com/embed/3mbBbFH9fAg" frameborder="0" allowfullscreen></htmltag> <br><br />
Artist: Soundgarden <br><br />
Album: Superunknown <br><br />
Released: 1994 <br><br />
Buy here: https://itunes.apple.com/us/album/superunknown-20th-anniversary/id882051954<br />
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=== Black Hole Sun Analysis:===<br />
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Soundgarden was one of the originals grunge groups, who started in the late 1980’s and grew steadily in popularity. Then in 1994, Black Hole Sun was released on their Superunknown album and it became an instant success landing them in the mainstream. The music “explored a menacing interior landscape teeming with pain, fear, fury, and defiance” and Rolling stone said that “‘it demonstrates far greater range than many bands manage in an entire career’”<ref> "The Band." Soundgarden. Soundgarden, n.d. Web. 21 May 2017.</ref>. The band addressed many social problems, which was highlighted by their talent. Black Hole Sun was chosen in this “mixtape” because it was a very popular song due to the fact that it came out right after Kurt Cobian’s death. This song stayed very true to the grunge sounds and can be compared with Nirvana. In light of recent events, I also wanted to honor and memorialize him and his work. Sadly, Soundgarden’s lead singer Chris Cornell committed suicide on May 17th, 2017. Many people, such as Chris, used music as their outlet to express the emotions or problems that they were facing, which was why it resonated so well with the younger generation. However, not everyone was able to able to conquer their demons, which was consequently the reason the whole grunge movement fell apart. So this section is an honor to Chris and his amazing work.<br />
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Black Hole Sun starts with the guitar strumming a chords and a dissonant echoing or feedback that sounds almost like sirens. The guitar sound is extremely distorted that it’s difficult to tell if the sound is actually from a guitar. The song then goes into a verse refrain repetition, where it oscillates between softer verse and louder chorus. It follows the classic grunge style with guitars, drums, and vocals being the major musical layers. The song is very repetitive and contains an almost euphoric feeling. Chris’s vocals are coarse and strained, but the lyrics are heard very clearly and concisely. In this song, many different themes of grunge music can be hear such as pain, alienation, and decay. The title Black Hole Sun sounds like the there is an all-consuming power taking over, which could represent a whole number of things ranging from depression to alienation. This song is very dark and can be seen as an inner reflection of his feelings. <br />
<br> <br> <br />
Lyrically Black Hole Sun was very easy to hear because the lyrics are annunciated but the lyrics themselves are very implicit and difficult to decipher. The lyrics had a very euphoric feel to them and surreal feel. The song has a very somber and sad sound to it with the echoing feedback. Black Hole Sun could mean many things and portrayed a distorted view on the world, which could be seen in the lyrics <div style="text-align: center;"> In my eyes, indisposed <br><br />
In disguises no one knows<br><br />
Hides the face, lies the snake<br><br />
The sun in my disgrace <br><br />
Boiling heat, summer stench <br><br />
'Neath the black the sky looks dead <br><br />
Call my name through the cream <br><br />
And I'll hear you scream again <ref> Black Hole Sun - Soundgarden. (n.d.). Retrieved May 23, 2017, from https://play.google.com/music/preview/Tydtarsbwyledpnwxjgp46ld7wq?lyrics=1&utm_source=google&utm_medium=search&utm_campaign=lyrics&pcampaignid=kp-lyrics </ref> </div> <br> This song can be seen as an inner reflection on oppression, depression, and isolation, which were very taboo topics to talk so freely about. His lyrics are a riddled with a twisted reality in which we all are so happy all the time and we hide the pain and anguish we feel to conform to what society wants to see to feel normal. This is painted very clearly in his very creepy and almost deranged music video, which Tom Barnes from Mic says “illustrates this seemingly hopeless fantasy, revealing the darkness hidden underneath the smiling face of idyllic, white-picket fence American life”<ref> Barnes, T. (2017, May 18). The secret meaning behind Chris Cornell's Soundgarden song "Black Hole Sun". Retrieved May 23, 2017, from https://mic.com/articles/177484/the-secret-meaning-behind-chris-cornell-s-soundgarden-song-black-hole-sun#.3Krgye9Om </ref>. It is like he is trying to escape from this dark and all-consuming power trying to drag everything with it. So as you listen to this song compare the technical aspects of the song to the grunge style for similarities and look for the themes of alienation, depression and decay. These will help you to enjoy the song more and find the place that Chris was coming from. <br />
<br> <br><br />
<br />
== Creep ==<br />
<span style="color:red"> ''''' Explicit language! ''''' </span> <br> <br><br />
<htmltag tagname="iframe" id= width="560" height="315" src="https://www.youtube.com/embed/XFkzRNyygfk" frameborder="0" allowfullscreen></htmltag> <br><br />
Artist: Radiohead <br><br />
Album: Pablo Honey <br><br />
Released: 1993 <br><br />
Buy here: https://itunes.apple.com/gb/album/creep-ep/id1112408383<br />
<br><br />
=== Creep Analysis:=== <br />
<br><br />
Radiohead is an English band that formed in 1985 before the start of the grunge music era. The band was formed at the all-boys Abingdon School by Thom York, lead singer, with two others from the school. The group formed little by little adding four others, but spilt up to attend university. Then in 1991, during the height of the grunge era, the group got back together to record a demo tape for EMI. They, hearing the grunge sound of their music, offered them a 6 album deal on the condition that they changed their name. The group Radiohead was then formed. They technically are generalized under alternative rock, but their song Creep contains the stereotypical grunge sound, which is why I chose this song. It also highlighted that the reach of Grunge music into the other parts of the world such as England. Interestingly when their hit Creep was first released, Radiohead was called a “Nirvana rip-offs, another one-hit wonder from the other side of the Atlantic plundering Nevermind for instant and fleeting fame”. <ref>Radiohead Biography. (n.d.). Retrieved May 24, 2017, from http://www.rollingstone.com/music/artists/radiohead/biography </ref> Ironically, they are still producing music today and have outlasted many other bands of the grunge era. <br />
<br><br><br />
Creep was one of Radiohead’s most popular songs and even though the group today is classified as alternative rock this song has the grunge sound that we have learned to know. Music starts with a constant beat on the drums and cymbals with a quite distorted guitar in the background. However unlike most grunge music, there happens to be light piano played. The song then crescendos to forte at the chorus and decrescendos to the refrain and will continue to vacillate from high to low throughout the whole song, which, as said before, is a stylistic feature found is most grunge music. Also the song has a verse and refrain repetition form. Like Kurt Cobain, Thom Yorke has a very low and almost burned out voice quality, which is why many believed this band to be a Nirvana knock-off. <br />
<br> <br><br />
The lyrics of Creep are again really hard to hear because of the lack of enunciation and of the lead singer’s burnout vocal quality, but it is also hard to understand the meaning behind the lyrics due to the fact that it is hard to find the meaning. Creep does have a sad and almost depressing sound to it with its slow and constant beat. The song is mournful of what he is not and this can be seen in the lyrics: <div style="text-align: center;"> You float like a feather <br><br />
In a beautiful world <br><br />
And I wish I was special <br><br />
You're so f*****' special<ref> Creep - Radiohead. (n.d.). Retrieved May 24, 2017, from https://play.google.com/music/preview/Tgarv4vwobsxyxtsott6p4qok5q?lyrics=1&utm_source=google&utm_medium=search&utm_campaign=lyrics&pcampaignid=kp-lyrics </ref> </div> <br> It seems like it's portraying society’s conformity of who is special and ordinary and because one does not fit these standards they are labeled. This leads to Yorke’s feelings of alienation. This can be seen when the song moves to the chorus. It sounds like the singer is calling out for people to hear his message of alienation in the chorus: <div style="text-align: center;"> But I'm a creep, I'm a weirdo. <br><br />
What the hell am I doing here? <br><br />
I don't belong here. <ref> Creep - Radiohead. (n.d.). Retrieved May 24, 2017, from https://play.google.com/music/preview/Tgarv4vwobsxyxtsott6p4qok5q?lyrics=1&utm_source=google&utm_medium=search&utm_campaign=lyrics&pcampaignid=kp-lyrics </ref> </div> <br> It sounds like he feels like an outside from those around him and that he doesn’t belong. This was a common ideal during the grunge era and many felt displaced and rejected by society. However according to lead singer Yorke, the song was about being a man in the 1990's and showing emotions to women (Paterson, 2011, p.47) <ref> Peterson, L. (2011, August). Teen Esprit Revisited. SPIN, 46-49. Retrieved from https://books.google.co.uk/books?id=Mpl58Kf1pXMC&pg</ref> So when listening to the song try to find the piano that is hidden in the song and look for its similarities to Nirvana, which is why I chose the English band. Keep in mind its slow beat and sad tone. <br />
<br />
<br> <br><br />
<br />
=Conclusion=<br />
<br><br />
During this milestone, I explored the musical genre of grunge to bring more attention to this often misunderstood music. So to do this, I explored grunge in its entirety covering where grunge first started to its impact on society. In my research, I found that grunge music gained almost a cult following beginning in Seattle, Washington and that it spread throughout the United States to many other places such as London England. However, in London crowd and other places there was not as much of an omnipresence. Bands that appeared out of the grunge movement from London did not make it as big in London as they did in the United States and interim United States grunge bands were more popular than their British counterparts. <br><br><br />
After that research, I then did an analysis of popular grunge songs from both the United States and London area to create a short deconstructed “mixtape” with the purpose of introducing grunge music to a person who has never listened to the music before. I then described what makes these songs grunge and the reason I choose them. For the future I would like to look further into the cultural effects of grunge music and how it continues to change the music scene still today. I would also like to see how teen today are being affected by grunge music due to the fact that I, who was not born in this era, found it very relatable to my life. There needs to be more research done on grunge’s impacts on both the culture and music of today, but this is a starting point for any interested in continuing the research.<br><br><br />
<br />
=External Links=<br />
Learn more about the bands: <br><br />
Nirvana: http://www.nirvana.com/ <br><br />
Bush: http://bushofficial.com/ <br><br />
Soundgarden: http://www.soundgardenworld.com/ <br><br />
Radiohead: https://www.radiohead.com/ <br><br />
<br><br><br />
=References=<br />
[[Category:Music Projects]]<br />
[[Category:2017]]</div>Kfconroyhttps://londonhuawiki.wpi.edu/index.php?title=British_Museum&diff=19421British Museum2017-06-22T16:24:15Z<p>Kfconroy: </p>
<hr />
<div>=British Museum=<br />
<br />
{{Infobox <br />
|title = British Museum<br />
|bodystyle = width:25em<br />
|image = [[File:OGBritish Museum.jpg|400px]]<br />
|caption = Main Entrance<br />
|label2 = '''Artist'''<br />
|data2 = Attributed to [[Olivia Gibbs]]<br />
}}<br />
<br />
=Overview=<br />
<ref>History of the British Museum. (n.d.). Retrieved May 11, 2017, from http://www.britishmuseum.org/about_us/the_museums_story/general_history.aspx </ref><br />
The British Museum is a free museum located in Bloomsbury, London that contains many artifacts that depict the human experience. It was created in 1753 to allow the general public access to history, art and culture that only the wealthy could afford. The museum contains the most complete and diverse collection of artifacts that totals to almost 8 million.<br />
<br><br><br />
__TOC__<br />
<br><br />
<br />
=Background or Origin of Article=<br />
<br><br />
The British Museum was first created in 1753 by the collector Sir Hans Sloane in order to give free admission to those wishing to study the collection of artifacts. The museum was first started when Sloane gave his more than 71,000 objects to King George II, so that they could be used after his death. The museum was created by an Act of Parliament as acknowledgement of his gifts. <br />
<br><br><br />
==Jewerly Through History==<br />
<br><br />
<br />
===Ancient Egypt and Sudan===<br />
<br><br />
Organize each section of this article so that it has a logical flow. If you intend to discuss one aspect of the origin of a person, place, thing, or idea, identify the appropriate existing section of the article, or create that section if it doesn't exist. Then, make a clear subheading. If you notice that some other information is not organized clearly, rearrange the information, but do so cautiously and responsibly! The goal here is clarity for the reader. <br />
<br><br><br />
Add links to other articles, but '''do not link to personal student profile pages or milestone pages'''. Add media as needed in the appropriate sections. <br />
<br><br><br />
<br />
==Middle East==<br />
[[File: mesop.jpg|x350px|right|thumb|frame|Mesopotamia Gallery]]<br><br />
=== Mesopotamia ===<br />
<br><br />
<ref>History of the British Museum. (n.d.). Retrieved May 11, 2017, from http://www.britishmuseum.org/about_us/the_museums_story/general_history.aspx </ref><br />
Mesopotamia, also known as the land between two rivers, rose and fell from 6000-1500 BC. It was located between both the Tigris and Euphrates rivers and was one of the first civilizations to settle in small agricultural groups and grow into larger city states. There were many new inventions created, such as a form of writing, new technology, and artistry. The different groups that existed in this region included the Sumerians, Akkadians, and Babylonians and they all contained their own unique cultures and created a very diverse region. <br />
<br><br><br />
==== Groups that lived there ====<br />
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<br />
<br><br><br />
====Geography==== <br />
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<br><br><br />
==== Culture ====<br />
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<br />
<br><br><br />
==== Accomplishments ====<br />
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<br><br><br />
<br />
===Prehistory and Europe===<br />
<br><br />
Organize each section of this article so that it has a logical flow. If you intend to discuss one aspect of the origin of a person, place, thing, or idea, identify the appropriate existing section of the article, or create that section if it doesn't exist. Then, make a clear subheading. If you notice that some other information is not organized clearly, rearrange the information, but do so cautiously and responsibly! The goal here is clarity for the reader. <br />
<br><br><br />
Add links to other articles, but '''do not link to personal student profile pages or milestone pages'''. Add media as needed in the appropriate sections. <br />
<br><br><br />
===Prehistory and Europe===<br />
<br><br />
Organize each section of this article so that it has a logical flow. If you intend to discuss one aspect of the origin of a person, place, thing, or idea, identify the appropriate existing section of the article, or create that section if it doesn't exist. Then, make a clear subheading. If you notice that some other information is not organized clearly, rearrange the information, but do so cautiously and responsibly! The goal here is clarity for the reader. <br />
<br><br><br />
Add links to other articles, but '''do not link to personal student profile pages or milestone pages'''. Add media as needed in the appropriate sections. <br />
<br />
==Asia==<br />
<br><br />
===Japan===<br />
<br><br />
[[File: Samurai.jpg|x350px|right|thumb|frame|The samurai armor available to view in the museum]]<br />
The Mitsubishi Corporation Japanese Galleries carries a collection of artifacts that explore how change has shaped Japan's past and present and it's relationship with the world. This exhibit transitions through three distinct time periods in Japan's history, ancient and medieval Japan, the Edo period and modern Japan each having it own dedicated room. In around 500 AD Buddist text and statues were brought to Japan from Korea and it was adopted as a major form of religion. The section on medieval Japan focuses on the role of Buddhism, native kami worship, and other religions during this time period. The room on the Edo period focuses on the samurais' role in the Japanese government. This part of the collection contains many pieces of a samurai's armor, artifacts that detail their influence in court and also many pieces dedicated to samurai wives. The final section of the exhibit is about modern Japan and is split into four sections: nation building and empire, city and country, freeing the self, and crafting beauty.<br />
<br><br><br />
<br />
==Europe==<br />
<br><br />
===Earthenware===<br />
<br><br />
Earthenware is a special type of pottery made from clay that is fired below 1200 degrees C. In the British Museum you can find tons of earthenware, especially in the Europe 1800-1900 galleries. Below are a few tiles and a cup, all designed by A.W.N Pugin around the 1850's and printed by Minton & Co. The tiles were made from dust clay, which created the smooth surface for printing. However due to limitations some colors were hard to add by printing, so they were added by hand.Printed tiles from medieval times have been found with only two colors, buff, and red. However, the designer Pugin wanted more options so Minton developed more colors which included blue, green, brown, and white. <br />
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<br><br><br />
<gallery mode="packed"><br />
[[File:EAWpottery1.jpg|400px]][[File:EAWpottery2.jpg|400px]][[File:EAWpottery3.jpg|400px]][[File:EAWpottery4.jpg|400px]]<br />
Image:EAWpottery1.jpg|'' Earthenware tile <br> Hand-painted with stylized lilies''<br />
Image:EAWpottery2.jpg|''Earthenware Tazza<br> Transfer-printed with Gothic motifs''<br />
Image:EAWpottery3.jpg|''Set of four earthenware encaustic tiles''<br />
Image:EAWpottery4.jpg|''Set of four earthenware encaustic tiles <br> With six-color inlay'' <br />
</gallery><br />
<br />
<br />
===Chess===<br />
<br><br />
The British Museum has on display a full chess game with each individual pawn during the Medieval Europe time period. Many are hand carved with details for powerful pawns. It was during this time, when chess was first created, to be played by knights to build strategy and skill. From playing they built up their tactic abilities which was seen as a positive achievement there for making chess one of seven knightly accomplishments. Clergy were not allowed to play because of the church's ruling on chess, but as time went on they soon loosened their ruling and they too could play. Men and women played chess which had become a way of flirty. <br />
<br><br><br />
<gallery mode="packed"><br />
[[File:OGCHESS.jpg|400px]] [[File:OGCHESS2.jpg|400px]]''Medieval Europe <br> Chess Game Set '' <br />
Image:OGCHESS.jpg|''Medieval Europe <br> Chess Game Set ''<br><br />
Image:OGCHESS2.jpg|''Hand Carved <br> Chess Pieces''<br />
</gallery><br />
<br />
===Clocks & Watches===<br />
<br><br />
The British Museum has over 900 clocks and 4,500 watches from various stages of their development. This exhibit showcases the development from mechanical clocks to modern radio controlled clocks. The exhibit features one of only two remaining spring-driven clocks from the 15th century. The source energy for early clocks came from weights and had purely mechanical designs. Later on, the idea of the pendulum was introduced. However, pendulums lost their accuracy due to temperature changes as the metal would expand or contract, changing the balance of the pendulum. This was countered with mercury which would behave inversely. A later technology to be introduced was the electromagnet. This allowed synchronization of clocks and correction of error. From there quartz clocks and clocks that can be synchronized via radio waves have developed and are used today. Clocks were more than just science though. They were also an art. Clock makers created elegant designs and owning such clocks was a symbol of wealth. Sir William Congreve designed a rolling ball clock which had a ball that rolls from one side of a table to another taking 30 seconds each way. While it was unreliable it displayed the designers creativity and skill.<br />
<gallery mode=packed heights=225px><br />
File:Mechanical Clock- sm- JR.jpg|Mechanical Clock<br />
File:Rolling Ball Clock- sm- JR.jpg|Rolling Ball Clock<br />
</gallery><br />
<br><br><br />
===Samian Pottery===<br />
<br><br />
Samian Ware or "Terra Sigillata" refers to a specific pottery type dating back to the Roman empire. This form of pottery was first classified by Hans Dragendorff, a German scholar, in 1890, though over time other specific classifications have been added. Samian pottery was very standardized in both size and shape, but individual workshops used specific motifs, so historians have now been able to identify which pieces were made by the different workshops. Undecorated and unstamped Samian pottery can also be identified just based on the color and texture of the clay. Pottery made with decorations on them were produced using fired clay moulds that were made using clay stamps. The decorations on the pottery were based mainly on mythology and were made by Gaulish potters, however in Britain they would have been generally called Roman. This pottery is a product of the romanization of Britain. The exhibit in the British Museum features a collection of some common shapes of Samian pottery which can be found on the Roman Britain exhibit.<br />
<br><br><br />
===Enlightenment Gallery===<br />
<br><br />
The Enlightenment Gallery is one of the longest galleries in the entire British Museum, and is dedicated to the Museum's early collections of artifacts from the eighteenth century. The Enlightenment is the period from 1680 to 1820 when a passion for reason, discovery, and learning was flourishing in Europe. Enlightened men and women believed that observing and studying the natural and man-made world could lead them to a greater understanding of the universe<ref>Enlightenment Gallery: Room 1. (n.d.). Retrieved May 12, 2017, from http://www.britishmuseum.org/about_us/services/film_and_radio/locations/enlightenment_gallery.aspx</ref>. Items featured in the gallery are organized into seven themes: Religion and ritual; Trade and discovery; The birth of archaeology; Art and civilization; Classifying the world; Ancient scripts; The natural world<ref>Enlightenment (Room 1). (n.d.). Retrieved May 12, 2017, from http://www.britishmuseum.org/visiting/galleries/themes/room_1_enlightenment.aspx</ref>. <br />
<br><br />
The Enlightenment Gallery was originally called the [[The British Library|King's Library]]. It was built in 1827 to house the extensive collection of books created by King George III and donated to the nation after his death. After the books were moved to [[The British Library]], the gallery was restored and repurposed<ref>King's Library. (n.d.). Retrieved May 12, 2017, from http://www.britishmuseum.org/about_us/the_museums_story/architecture/kings_library.aspx</ref>.<br />
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<gallery mode="packed"><br />
Image:Enlightenment Gallery.jpg|''View of Enlightenment Gallery''<br />
Image:Enlightenment.jpg|''Orrery on display''<br />
Image:Enlightenment Vases.jpg|''Case of Roman pottery''<br />
</gallery><br />
<br />
==Africa==<br />
<br><br />
===Ancient Egypt===<br />
<br><br />
====Sculpture====<br />
<br><br />
The British Museum holds one of the largest, and most extensive, collection of Egyptian artifacts, many of which are statues. A significant portion of this collection is located on the first floor and is comprised of statues. With most of them being made from stone, mainly granodiorite and quartzite. The statues depict important figures from Egyptian history, including Ramesses II, Amenhotep III, as well as Gods. The museum also contains sarcophagi made for various leaders. In the second floor gallery, mummies lying within their sarcophagus are on display; these sarcophagi are much more decorated, containing both paintings and carvings rather than just the carvings, then the stone ones below. One exhibit focuses on the [[Tomb-chapel of Nebamun]] which houses Nebamun, a wealthy accountant. <br />
<gallery mode="packed"><br />
Image:RamessesII.jpg|"Ramesses II"<br />
Image:Mummies.jpg|"Some of the mummies"<br />
<gallery><br />
</gallery><br />
<br />
<br><br><br />
<br />
====Mummy of Cleopatra====<br />
<br><br />
Cleopatra was the daughter of Candace and a member of the family of Cornelius Pollius, Archon of Thebes in the time of the Emperor Trajan. Cleopatra died when she was 17 years, 1 month, and 25 days old according to the inscription on her coffin. This debunked writings that said she died when she was 11 years old. The body is wrapped in a criss cross of bandages decorated to honor Nut, Isis, Anubus and other deities. The body is believed to be in very good shape, however they cannot determine due to dense material under the bandages blocking x-rays. It was believed to have been buried around 100-120 AD.<br />
<gallery><br />
1616.JPG|Mummy of Cleopatra<br />
</gallery><br />
<br><br><br />
===Sudan===<br />
<br><br />
==Greek and Roman==<br />
<br><br />
===Roman Empire===<br />
<br><br />
Following the fall of the Greek Empire, the Roman Empire stretched huge distances and was the largest empire the world had ever seen. It reached as far as northern Britain with Hadrian's Wall and to the Nile River in Egypt at its height. The Romans were a modern society for the time that had the ability to rule over great distances from a single central capital. In order to maintain such a large empire, the Roman's needed a strong and well organized army. Many Roman citizens devoted their lives to the Roman army so the empire could protect its borders and keep out unwanted visitors. They developed the city of Rome into a huge city with many architectural and technological advancements, like aqueducts and the great Roman Colosseum.<br />
<br><br><br />
===Busts===<br />
<br><br />
Carved from marble, Greek and Roman busts depict the upper body of the human figure. Each bust is supported by a single pedestal, known as a plinth, that vary in design and scale. The Roman empire drew large influence from Greek religion, culture, and art. This can be clear seen in Roman imitation sculptures and art inspired by Greek myths and figures. As such, sculptures produced by both Ancient Greece and the Roman Empire share similar styles and components including sculpting materials, realistic imitation of the human form, and depiction of myths and mythical characters.<br />
<gallery mode="packed"><br />
[[File:IMG 1806.jpg|400px]] [[File:IMG 1807.jpg|400px]]<br />
Image:IMG 1807.jpg|''Roman bust imitation <br> of the Greek hero Meleager''<br />
<br><br />
Image:IMG 1806.jpg|''Greek bust of a supposed boxer''<br />
</gallery><br />
===Nereid Monument===<br />
<br><br />
[[File: nereidMonument2.JPG|right|thumb|Nereid Monument]]<br />
The Nereid Monument was built for Arbinas, a Xanthian dynast, and his family. Although it was built in south-west Turkey, its design was heavily influenced by the Greek mainland as can be seen. The design and sculpture is Greek, but what is portrayed is Lykian.<br />
<br><br><br />
===Parthenon===<br />
<br><br />
Dedicated to the goddess Athena, the Parthenon was a formal temple located on the Athenian Acropolis in Greece. It was built in 447 BC when the Athenian Empire was at its most powerful and completed in 438 BC with decorations continuing until 432 BC. Although called a temple, it was not used in the modern sense of the word. A large shrine was excavated from the site of Athena. This shrine and the temple were most likely used as a way to get close to Athena and to worship her, yet the temple never hosted the cult of Athena. The massive statue inside of the temple was sculpted by Phidias and was not related to any sort of cult. The statue wasn't even known to carry any religious weight to it, but rather, only as a shrine dedicated to Athena. The Parthenon also had incredibly detailed sculptures around the entirety of the Doric inspired temple. There are three layers to these sculptures: the metopes, friezes, and the pediments. The metopes were 92 (14 on each of the west and east sides, and 32 on earth of the north and south sides) smaller sculptures carved into the stone of the Parthenon that resembled battles between the Gods and giants and between the Athenians and Amazons along with battles of mythical creatures. Above those on the east and west sides are the pediments. The east side represents the brith of Athena from the head of her father, Zeus, while the west side depicts the competition between Athena and Poseidon. This competition was to determine who would be the city's patron, and in the end, Athena was victorious.<br />
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<br />
===Greek Vases===<br />
<br><br />
[[File:Greek Vase.jpg|frame|right|Greek Vase ]]<br />
The British Museum houses a large collection of Greek vases from 500-300 BC. These examples of fine Greek art are painted pottery are used to illustrate daily life in Greece as well as much Greek mythology. The majority of the vases are originally from Athens and are decorated with a "red-figure technique". A number of white-ground and black glazed vases are also on display in the Greek vase exhibit. The collection also includes vases from other Greek cities, such as south Italian Greek colonies. <br />
<br><br><br><br><br><br><br><br><br><br><br><br />
==Rosetta Stone==<br />
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[[File:RosettaStone.jpg|thumb|right|Rosetta Stone]]<br />
Inscribed on the stone is the same decree in three languages: Hieroglyphic script, Demotic script, and Ancient Greek. The stone originated in a temple, before being used as building material when it was more recently discovered in Fort Julien near Rashid, Egypt by a French Soldier in 1799. When the British invaded Egypt at the beginning of the 1800s, they took the stone and it has been on display since then in the British Museum. The museum has a copy of the stone in the Kings Library that you can touch, while the actual stone in encased in room 4. Copies and models were made and given to scholars around the world in an attempt to decipher it, with Thomas Young and Jean-Francois Champollion contributing heavily to the understanding of the languages. Having the same decree in three languages aided in the deciphering of Egyptian Hieroglyphics<br />
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==Great Migrations==<br />
===Franks===<br />
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===Lombards===<br />
{{Infobox <br />
|title = Lombardic jewelry<br />
|bodystyle = width:25em<br />
|image = [[File:lombardjewelry_beretich.jpg|320px|alt=image]]<br />
|label2 = '''Description''' <br />
|data2 = Found at a grave site, the finger ring contains a Germanic name, but was used for sealing documents in what is Roman tradition.<br />
}} <br />
The Lombards were a Germanic people, residing in southern Scandinavia, migrating further south until reaching Italy. They conquered the area, which was devastated after the Gothic War between the Ostrogoths and the Byzantine Empire. For two centuries they ruled a large part of Italy, save for territories the Byzantines were able to hold on to, like Rome and Ravenna. However, as time went on, they gradually began adopting Byzantine traditions, including practicing Christianity. <br />
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The resulting Lombardic Kingdom <br />
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===Cultural Effects on Migrants===<br />
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==America==<br />
===Mexico===<br />
In this gallery we can find it divided into sections that identify how it was geographically. Each region has a different culture that flourished in Mexico from about 2000 BC up to the arrival of the Spanish in the sixteenth century. <br />
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The beginnings of Mexican civilization started with the Olmecs. They performed ceremonial centers on the Gulf Coast. After them the Classic Veracruz and Huaxtec cultures. Th Mayas also rose during this time period. Maya city states, including Yaxchilan, developed writing, astronomy, and a sophisticated calendar. At the same time the Mexican Highlands, while neighboring Zapotec and Mixtec peoples ruled Oaxaca.<br />
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When the Spanish arrived the Aztec empire help sway over much of non-Maya Mesoamerica. Rhe Spanish conquest brought irrevocable change and destruction, but many aspects of indigenous culture survived in Mexico to this day.<br />
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====The Olmecs====<br />
Olmec culture finds its highest expression in what is known as the Olmec heartland on the Gulf Coast of Mexico. In this lowland, riverine setting,well-planned political and ceremonial centres such as San Lorenzo, Tres Zapotes, Laguna de los Cerroes and La Venta emerged in the late second millenium BC...<br />
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====The Aztecs and Mixtecs====<br />
The Term Aztec has been used since early colonial times to refer to the peoples settled around Lake Texcoco in the Valley of Mexico. Most poweful among these was the ethnic group known as the Mexica, from whom modern Mexico takes its name.<br />
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====The Mayans====<br />
They began in what is now Mexico but expanded to Guatemala, Belize, and Honduras. By the early centuries populations, leading to the growth of Classic Maya city states ruled by competing dynasties. <br />
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===American Dream: pop to the present===<br />
The American Dream: pop to the present gallery at the British Museum is a temporary exhibit which will be open until June 18th, 2017. The exhibit is focused on print making from the 1960s onward and attempts to show its importance in the artistic practices of America. The gallery begins with the expansion of pop art in the 1960s and continues on to focus on the rise of minimalism in the 1970s. It also brings up social issues, such as race conflicts, the rise of feminism and problems of AIDS up to present day. Some very important people featured in the gallery are Andy Warhol and Jasper Johns, among many others. The overall goal of the gallery is to showcase the impact of print making on art, and to show its widespread uses over time. <br />
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=References=<br />
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=External Links=<br />
If appropriate, add an external links section<br />
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=Image Gallery=<br />
If appropriate, add an image gallery<br />
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[[Category:Art]]<br />
[[Category:History]]</div>Kfconroyhttps://londonhuawiki.wpi.edu/index.php?title=Grunge_in_London&diff=19420Grunge in London2017-06-22T16:21:35Z<p>Kfconroy: </p>
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<div>by [[User:Kfconroy|Katharine Conroy]]<br><br />
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{{Infobox<br />
|title = Grunge in London <br />
|bodystyle = width:25em<br />
|image = [[File:kurt-cobain-1186758_640.jpg|x450px|alt=Popular Grunge Bands from the US and London]]<br />
|label1= InspiredImages. (2016). Kurt Cobain photograph. Licensed under Creative Commons Zero on Pixabay.com <br />
|data1=<ref> InspiredImages. (2016, February 11). Kurt Cobain [Photograph]. Retrieved from: https://pixabay.com/en/kurt-cobain-singer-musician-1186758/ </ref><br />
}}<br />
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__TOC__<br />
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=Abstract=<br />
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For this milestone, I am doing a comparison of American and London grunge music, whose time periods, late 1980's, ran almost simultaneous to each other. I delved into what grunge music is and the cultural and societal issues that were often incorporated into the music. These social issues were used as inspiration to the artists and were often incorporated in the sound and lyrics of these songs. <br />
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This project is very special to me due to the fact that the music has been a great part of my life since I was a child playing the violin. During high school, I took many music classes and was in both band and chorus. So this project incorporates my propensity to music, more specifically grunge music, and allows me to explain this misunderstood and often confusing genre of music. <br />
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=Introduction=<br />
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This project is meant to be used as an introduction to the little-known genre of grunge, which dominated the music scene during the late 1980’s and early 1990’s. I produced a guide to listening to grunge music along with an accompanying deconstructed “mixtape” with an analysis to distinguish the differences between American and London grunge music. For this “mixtape”, I had many a myriad of choices for what songs to put in it, but my decisions on the songs and artists decided were a mix of popularity, memorial, and geographic location. “Smells Like Teen Spirit” by Nirvana was chosen due to the fact that Nirvana was one of the most iconic symbols of the grunge movement and “Smells Like Teen Spirit” is number 9 on RollingStone’s list of “500 Greatest Songs of All Time” <ref> 500 Greatest Songs of All Time. (2011, April 07). Retrieved June 20, 2017, from http://www.rollingstone.com/music/lists/the-500-greatest-songs-of-all-time-20110407/nirvana-smells-like-teen-spirit-20110516</ref>. Soundgarden’s Black Hole Sun was chosen in memory of the late Chis Cornell who recently passed away. This song was creepy and unique, which reflected that grunge movement. I choose both Glycerin by Bush and Creep by Radiohead because they were both grunge bands that came out of the England/ London area. They both oozed of angst and demonstrated how the grunge movement spread to other areas of the world. <br> <br><br />
This topic has been a part of the discussion since its appearance in the late 1980’s, however much of it has been about the culture that surrounded the movement. A wonderful work that covered this movement with an indiscriminate and impartial eye was Catherine Strong’s novel ‘‘Grunge: Music and Memory’’<ref> STRONG, C. (2016). GRUNGE: music and memory. S.l.: ROUTLEDGE.</ref> However in my research, I found that there is very little that covered the lasting effects and spread of grunge music to other countries. So I researched the culture of the grunge movement and its affects of the surrounding cultures. This project is covering material that is new and exciting and requires much research. <br />
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=Background=<br />
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{{Infobox<br />
|title = Start of Grunge: Seattle, WA<br />
|bodystyle = width:25em<br />
|image = [[File:buildings-1846133_640.jpg|x450px|alt=Popular Grunge Start]]<br />
|label1= Pexels. (2015). Seattle photograph. Licensed under Creative Commons Zero on Pixabay.com<br />
|data1= <ref> Pexels. (2015, August 23). Seattle [Photograph]. Retrieved from: https://pixabay.com/en/buildings-city-cityscape-downtown-1846133/ </ref><br />
}}<br />
Grunge music is classified as a genre of rock music that came to fruition from the late 1980’s to the early 1990’s. During this time grunge did not only appear as a genre of music, it also became a fashion trend that donned an unkempt and dirty look. Grunge music was started in Seattle, Washington and gravitated around the independent record label Sub Pop. It spread from its roots, in Seattle, to many other countries and cities such as London. Sub Pop produced groups such as Soundgarden, Mudhoney, Green River, and Nirvana (before they signed with a major label). Grunge alternatively became known as the Seattle Sounds due to its origins in Seattle. Grunge was not exactly a new sound but more of a combination of different genres of rock. Musically and attitudinally grunge was similarly related to heavy metal, punk, and alternative, but it also had other components such as thrasher metal, which came about in the mid-1980’s during the split of heavy metal into a number of different genres. This added to the myriad of different sounds in the music scene. Therefore, grunge became a mosaic of rock with many picking and choosing the sounds and agendas they supported. Due to this, it’s almost impossible to give a complete and definite definition or sound to grunge because it meant different things to different people, but they all housed similar themes and attitudes. <br />
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Generally, the grunge sound contained a “dirty” (Strong, 2016, p. 18)<ref> STRONG, C. (2016). GRUNGE: music and memory. S.l.: ROUTLEDGE.</ref> and rough sound, which is probably where its name came from. This was especially notable in the beginning when much of the music produced was done on a small budget, with a lack of expertise, and a lack of professionalism. The music itself can be described a “visceral” (Strong, 2016, p. 18)<ref> STRONG, C. (2016). GRUNGE: music and memory. S.l.: ROUTLEDGE.</ref> with guitars and low bass vacillating between low and thundering. It reflected the angst and hurt that bands felt due to their betrayal by society. Many wrote in their verse and refrain form, with lyrics addressing problems such as youth suicide, rape, drug dependency and depression, which were deemed taboo by society (Strong, 2016, p. 17). They used the distorted sound as a symbol of how polluted the world is, therefore they avoided the use of virtuoso (Strong, 2016, p. 17) <ref> STRONG, C. (2016). GRUNGE: music and memory. S.l.: ROUTLEDGE.</ref> guitar because it was used in mainstream rock and took away from the lyrics. All of the music was sharp and deliberate, which was a great contrast to the music of the late 1980’s. This sharp and deliberate sound was typically created by electric guitar, drums, low bass, and vocals, but may utilize other instruments. <br />
<htmltag tagname="iframe" width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/151979621&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false"></htmltag><br />
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This movement started and ended very quickly but left many awakened to the possibilities that music has. The music began as a way to attract attention to public issues and left many with the idea that they could start a band to address an issue that they had. Grunge music became part of the mainstream and Nirvana’s album ‘‘Nevermind’’ surpassed Michael Jackson’s ‘‘Dangerous’’ at No. 1 on the Billboard (Rutherford, 2016). <ref> Rutherford, K. (2016, September 23). Nirvana's 'Nevermind': 9 Chart Facts About the Iconic Album. Retrieved May 17, 2017, from http://www.billboard.com/articles/columns/chart-beat/7518783/nirvana-nevermind-nine-chart-facts-anniversary </ref> This impression on the mainstream allowed many bands like Nickelback and Creed to enter the music scene after the grunge era, due to the fact that it “was the catalyst to reconstructing the mainstream music industry to allow a greater inclusion different music genre” (Strong, 2016, p. 20) <ref> STRONG, C. (2016). GRUNGE: music and memory. S.l.: ROUTLEDGE.</ref> . Grunge made a lasting impact on both society and the music industry, which will affect generations to come. <br />
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==Where and when did this grunge music start? ==<br />
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In the United States, grunge started in the late 1980’s in Seattle, Washington and mostly revolved around the record label company Sub Pop. During that time, Sub Pop released grunge bands such as Soundgarden and Green River, who later became known as Pearl Jam. However, Grunge music really began to gain recognition when they released Nirvana’s first album ‘‘Bleach’’. Later on, Nirvana would sign with the major label company David Geffen Company (DGC) <ref>Official Nirvana Website: Complete Discography, Videos and more. (n.d.). Retrieved May 20, 2017, from http://www.nirvana.com/ </ref> as they gained more popularity. <br />
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Seattle became the hotspot with many migrating to the area to get a taste of this new sound. During this time, other bands started to sign with record labels interested in making money from this new Seattle sound. These bands signed with the agreement that they had “artistic” (Strong, 2016, p. 22) <ref> STRONG, C. (2016). GRUNGE: music and memory. S.l.: ROUTLEDGE.</ref> control over the music they produced and this allowed the music to stay as intended by the bands.<br />
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Grunge gained the public’s attention in 1991 during the release of Nirvana’s album “Nevermind”. This was when grunge entered the mainstream. Record companies started searching for these bands outside of the Seattle area with grunge sound and found groups like Stone Temple Pilots and Smashing Pumpkins, who gained popularity in the mainstream. Grunge became so omnipotent that it spread all across America to places such as London with Nirvana or more specifically Kurt Cobian as its spokesperson. <br />
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London became no exception to the grunge movement, with Nirvana infiltrating the mainstream. In the height of the grunge music movement in the US, came an alternative rock band from England called Radiohead. They started their music career in 1991. <ref> Radiohead Biography. (n.d.). Retrieved May 18, 2017, from http://www.rollingstone.com/music/artists/radiohead/biography </ref> Their music had a sound that was similar to grunge music and because of that EMI, a major record company who produced famous groups such as The Beatles and The Beach Boys signed them to their label<ref> EMI. (n.d.). Retrieved May 19, 2017, from http://www.universalmusic.com/label/emi/ </ref>. This became an inspiration to many other groups, such a Bush from London, England, who began in 1992 during the height of the movement. However, the movement never gained as much speed as it did in America. Interestingly, Bush’s songs gained more headway in American than in London. Much of the grunge’s popularity ended when Kurt Cobain, the principal singer of the grunge movement, passed away of an apparent suicide. It would have been very interesting to see where the grunge music genre would have gone if it hadn’t ended so abruptly. <br />
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{{Infobox<br />
|title = Emotions in Grunge <br />
|bodystyle = width:25em<br />
|image = [[File:fear-2083648_640.jpg|x450px|alt=Fear and Anxiety]]<br />
|label1= Johnhain. (2016). Fear and Anxiety photograph. Licensed under Creative Commons Zero on Pixabay.com<br />
|data1= <ref> Johnhain. (2016, March 22). Fear and Anxiety [Photograph]. Retrieved from: https://pixabay.com/en/fear-emotion-anxiety-vulnerability-2083649/ </ref><br />
}}<br />
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==What did it represent? ==<br />
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Grunge was not only a music genre that evolved from the rock genera in the late 1980’s to 1990’s, it was also a culture and catalyst for social issues of the time. The music was often described very somber, sad, and angry, which is what many of the artists were trying to portray because they wanted to let the audience know the pain and angst they felt. It was very emotional it often contained themes of alienation, rejection, drug dependency, depression, alcoholism, angst, and anger. (Strong, 2016, p.17-19) This sound and attitude resonated very well with the youth of this time period and those affected by those problems. So it was not unreasonable that the movement spread across America with the unmentionable issues it was addressing and its unique sound. As far as spreading to other parts of the world, these issues carried a similar weight to the people of places such as London. Many felt forgotten and rejected by the society because of the emotions they felt. <br> <br><br />
Grunge music also has a greater occurrence of social issues than any other rock genres in the 1990's (Strong, 2016, p.18). The issues that they were covering were universal, which is why it had a great reception by people. It was broadcasting the issues of the poor and forgotten. Both in the United States and London, many of the youth faced the same problems, so there was really no difference in what it represented because the message was universal. The people wanted acceptance from a society that often hides issues seen as taboo and society that forces those who don’t fit in to conform. Many wore labels free clothing that rejected the ideas of commercialism due to the fact that it would have them conform (Strong, 2016, p.17). There was no authenticity in conformity and big corporations became the enemy of these people because they wanted people to conform to their standards. This was why many artists stayed with smaller corporations, so they had control over their sound with no input from those selling their records (Strong, 2016, p.16). In the attitude of acceptance, grunge artist often supported those who were underrepresented and discriminated against. They supported women’s rights and unlike their 1960’s counterparts they did not use sexist lyrics or lyrics that slandered women. Nirvana was also known to headline a fundraiser that “opposed the proposed institutionalized discrimination against gays and lesbians” (Strong, 2016, p. 28) <ref> STRONG, C. (2016). GRUNGE: music and memory. S.l.: ROUTLEDGE. </ref>. They also organized a concert to alert the population of the “plight women of the Balkan conflicts” (Strong, 2016, p. 28) <ref> Novoselic, K. (2004). Of Grunge and Government: Let's Fix This Broken Democracy. NY: RDV Books. </ref>. <br><br><br />
However, there a dark side to this movement. Many of the problems that these artists faced were an everyday struggle that could not be relieved. These dark issues of depression, drug dependency, alienation, and authenticity many times remained unresolved and some self-medicated to ease their pain. Grunge represented these peoples’ pain, however, not all of them were strong enough to conquer their demons and they fell victim to their problems. Most notably, Kurt Cobain struggled with depression and drug dependency and was found dead of an apparent suicide. He struggled with drugs and staying clean his music can definitely speak for his pain and angst. He was not the only to have his demons, but with his death came the beginning of the end of the grunge era. Still today many still suffer from these issues and more recently Soundgarden’s lead singer Chris Cornell lost his battle with depression. This genera, while it helped those suffering by giving those who suffered someone to relate to, also had its own issues. Grunge left a both positive and negative affect on the world and there is much still to be learned from it today. <br />
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== How did Grunge Music affect the people and who did it effect? ==<br />
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The grunge movement affected those of the X generation or people born after the Baby Boomers. It gave the youth of the Generation X an identity for those who felt rejected because of their inability to fit in with society. The youth of this generation used this music as a rebellion against society and any higher power such as parents. It was considered the “cool” and “in” thing and a cultural right of passage. Many of youth affected were facing changes in their own lives and used grunge as a release. They were considered rebellious teenagers and many interviewed by Catherine Strong <ref> STRONG, C. (2016). GRUNGE: music and memory. S.l.: ROUTLEDGE. </ref> considered teen hood as a time where everything was confusing, so at the age of 13 the music really appealed to them (Strong, 2016, p. 131- 150). In her interviews, Catherine asks those of Generation X their memories of grunge and many see the music as more of nostalgia than anything else. Many people of that generation have said that the era was important to their development into adulthood, but they, like everyone else, had to grow up. Today, grunge is still resonates with the younger generation and its ideas can be seen in the rock music that came after it. It has been said by Kruse <ref> Kruse, H. (2003). Site and sound: understanding independent music scenes. New York: Peter Lang.</ref> in her novel ''Site and sound: understanding independent music scenes'' that grunge “led to a restructuring of the mainstream music industry to allow greater inclusion of marginal musics, and the subsequent fragmentation of the popular music audience.” (Strong, 2016, p. 20)<ref>Strong, Catherine. Grunge: Music and Memory (Ashgate Popular and Folk Music Series) (p. 20). Taylor and Francis. Kindle Edition. </ref>. Alternative bands such as Creed and Nickelback come to popularity while utilizing the visual and musical components of grunge. Still today many year after the end of the grunge movement, grunge has its influences on modern culture in 2017.<br />
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=Section 2: Guide to appreciating Grunge music =<br />
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The purpose of this guide is to allow people the opportunity to listen to and appreciate grunge music. It is difficult to have people understand grunge music when they are not given a background to it. Therefore, it is important to have a comprehensive and detailed analysis of the songs being listened to ensure comprehension of the songs. So below are four selected songs by four different artists to show the diversity of grunge music and to also demonstrate the many similarities and distinguishing features. For this “mixtape”, I had many a myriad of choices for what songs to put in it, but my decisions on the songs and artists decided were a mix of popularity, memorial, and geographic location. “Smells Like Teen Spirit” by Nirvana was chosen due to the fact that Nirvana was one of the most iconic symbols of the grunge movement and “Smells Like Teen Spirit” is number 9 on RollingStone’s list of “500 Greatest Songs of All Time” <ref> 500 Greatest Songs of All Time. (2011, April 07). Retrieved June 20, 2017, from http://www.rollingstone.com/music/lists/the-500-greatest-songs-of-all-time-20110407/nirvana-smells-like-teen-spirit-20110516</ref>. Soundgarden’s Black Hole Sun was chosen in memory of the late Chis Cornell who recently passed away. This song was creepy and unique, which reflected that grunge movement. I choose both Glycerin by Bush and Creep by Radiohead because they were both grunge bands that came out of the England/ London area. They both oozed of angst and demonstrated how the grunge movement spread to other areas of the world. <br />
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While listening to this deconstructed “mixtape” it is recommended, that for one’s full enjoyment, to read the analysis before listening to the song. It will give pointers and details to pay attention to that will enhance the listening experience. Also listening to these songs multiple times may help in the appreciation process. Also feel free to look up other songs and bands such as Pearl Jam, Alice In Chains, Mudhoney, Smashing Pumpkins and so many others. There were many other bands from this era that one may also enjoy in addition to the listed songs and artists. <br />
Enjoy!<br />
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== Kat's Deconstructed Mixtape ==<br />
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==Smells Like Teen Spirit ==<br />
<htmltag tagname="iframe" id= width="560" height="315" src="https://www.youtube.com/embed/hTWKbfoikeg" frameborder="0" allowfullscreen></htmltag> <br><br />
Artist: Nirvana <br><br />
Album: Nevermind <br><br />
Released: 1991 <br><br />
Buy here: https://itunes.apple.com/us/album/nevermind/id485495703<br />
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===Smells Like Teen Spirit Analysis: ===<br />
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Nirvana was probably one of the most well-known grunge bands to date with its lead singer Kurt Cobain. Today, many know the band by the yellow and black smiley face with the crossed out eyes or the album cover of the naked baby swimming toward the dollar bill, but they were very prolific in their short time as a band. Smells like Teen Spirit was one of the hits on Nevermind album, which sparked the whole grunge movement, which is why I chose this song. Nirvana became the foundation of grunge music and many used this group as inspiration for their own. Therefore, it is very important to include this song and group to use as a comparison to the others. <br />
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When the song first opens, you can hear the distorted guitar sound strumming chords for about the first two measures until the crashing of the drums and cymbals join in. The distorted guitar and large riffs became a staple and signature of the grunge era and will be heard in almost all grunge music. This song will vacillate between the quiet verses and the roaring refrain. As said before in the background, much of grunge music heavily utilized these drastic dynamics that would alternate between forte and piano and very little in between. Also, note the low and burnt out quality of Kurt Cobain’s voice. His voice is very distinct and very easy to differentiate from other grunge bands. <br />
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This song is very hard to understand both lyrically and physically, but it is easy to hear the angst and hurt dripping from the lyrics. Cobain’s low and burnt out voice along with the blasting guitars make the lyrics very hard to hear and a lot of the time the lyrics sounds muffled. However, the lyrics themselves often sound like they are talking in riddles. This can be seen in the first verse: <div style="text-align: center;"> Load up on guns <br>Bring your friends <br>It's fun to lose and to pretend <br>She's overboard, self-assured <br>Oh no I know, a dirty word <ref> Smells Like Teen Spirit (Boombox Rehearsals) - Nirvana. (n.d.). Retrieved May 20, 2017, from https://play.google.com/music/preview/Tv7xaljcxgybxov7bvog6bslqqu?lyrics=1&utm_source=google&utm_medium=search&utm_campaign=lyrics&pcampaignid=kp-lyrics</ref></div> <br> One can attempt to see from these lyrics Cobain’s feelings of alienation by society and forced conformity or the realities of depression. It was well know that he was diagnosed with both ADD and Bipolar Disorder, aka Manic Depression <ref> Jamison, K. R. (n.d.). Kurt Cobain and manic depression. Retrieved June 20, 2017, from http://www.bipolar-lives.com/kurt-cobain-and-manic-depression.html</ref>. So the depression, and loneliness he felt was due to a mental disorder he had no control over. Though, it’s difficult to define an explicit meaning to the lyrics due to the fact that Kurt Cobain did not reveal the true meaning behind these lyrics, but many can make guesses at what it was referring to because of his own depression. So when listening, look for the riffs in the guitar chords, the distorted sound, and the rough lyrics. Also, keep in mind the anger and hurt heard during the loud chorus and the alienation riddled in the lyrics. It is very important to keep this song in your head when listening to the others for comparison to this original. <br />
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== Glycerin ==<br />
<htmltag tagname="iframe" id= width="560" height="315" src="https://www.youtube.com/embed/hOllF3TgAsM" frameborder="0" allowfullscreen></htmltag> <br><br />
Artist: Bush <br><br />
Album: Sixteen Stone <br><br />
Released: 1994 <br><br />
Buy here: https://itunes.apple.com/gb/album/sixteen-stone-remastered/id925879035<br />
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===Glycerin Analysis: ===<br />
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Bush is a band from London, England that became popular at the end of the grunge era, so they technically count as post-grunge. It was headed by its main singer and guitarist Gavin Rossdale <ref> About. (n.d.). Retrieved May 21, 2017, from http://bushofficial.com/about </ref>. Ironically they never really became popular in the UK, but they did gain a great deal of popularity in the United States with their song Glycerin topping the Alternative Billboard charts in 1995. <ref> Bush. (n.d.). Retrieved May 20, 2017, from http://www.billboard.com/artist/1486092/Bush/chart?f=377</ref>. They are still producing music today with their latest album “Black and White Rainbows” and they haven’t lost their grunge/post-grunge style. This song and artist was selected because it not only showed the spread of the grunge movement to places such as London, but it also showed the dramatic change in style as the movement came to its end. Bush clearly had a grunge sound, but they did deviate a bit form the pattern, which was set by Nirvana.<br />
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The song begins with distorted guitar chords and dissonant echoing that is then accompanied by another guitar. This song is a bit different than the prior with it containing guitar, vocals, violin, and cello, which is very interesting because the use of violin and cello were almost non-existent in grunge music. The main sound would be guitar and drum set, but in Glycerin there were not any drums. Glycerin also did not have the intense dynamics that could be heard in Smells Like Teen Spirit. There was still the vacillation between forte and piano chorus and refrain, but it was not great. The ending of the song is also very unique with it ending in the cello and violin playing dissonant chords. It’s apparent that this song was less about anger and pain, but it more about depression and a failed relationship. Like Kurt Cobain, Gavin Rossdale had a very course and gravelly voice quality. Much of this song carried the characteristics of typical grunge music but with some variation marking the end of true grunge sound.<br />
<br> <br><br />
[[Bush| Bush’s]] Glycerin was not as lyrically mystifying or physically hard to hear. Even though Gavin did have a gravelly and low voice, there was more annunciation to the lyrics being sung. So you can actually hear what is being said and also the lyrics aren’t as confusing and coded. It is easy to grasp the idea of this song because of the lyrics <div style="text-align: center;"> Everything's gone white <br> And everything's gray<br> Now you're here now you're away <br> I don't want this <br> Remember that <br> I'll never forget where you're at <ref>Bush: Glycerin. (n.d.). Retrieved May 21, 2017, from http://www.metrolyrics.com/glycerine-lyrics-bush.html </ref> </div> <br> shows the effects of an being left cyical to the world. These lines talk a lot about being sad to believe that all good in the world is self motivated and nothing is real (Fuse, 2012, 2:50- 3:14) <ref>[Fuse]. (2012, April 30). Gavin Rossdale Explains "Glycerine" - Inside the Lyric [Video File]. Retrieved from https://www.youtube.com/watch?v=0m0rWnz7Jjg </ref>. You can hear the sadness and self-doubt that the person is feeling. The violin and cello give a somber sound with the legato and held out notes. His regret can be seen in the lyrics <div style="text-align: center;"> Could have been easier on you <br>I couldn't change though I wanted to <br> Should I have been easier by three<br />
<br> Our old friend fear and you and me <ref>Bush: Glycerin. (n.d.). Retrieved May 21, 2017, from http://www.metrolyrics.com/glycerine-lyrics-bush.html </ref> </div> <br>. He is thinking about all that he could have done or been to make his significant other stay and love him. So when listening, look for the distorted guitar, violin, cello and sad sound. Keep in mind the theme of regret and self-doubt for in this song and see how it continues the grunge theme even at the end of the movement with some variation. <br />
<br> <br><br />
<br />
==Black Hole Sun ==<br />
<span style="color:red"> '''''Seizure warning <br><br />
Warning the video is very creepy may not be suitable for all viewers!''''' </span> <br> <br><br />
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Artist: Soundgarden <br><br />
Album: Superunknown <br><br />
Released: 1994 <br><br />
Buy here: https://itunes.apple.com/us/album/superunknown-20th-anniversary/id882051954<br />
<br><br />
=== Black Hole Sun Analysis:===<br />
<br><br />
Soundgarden was one of the originals grunge groups, who started in the late 1980’s and grew steadily in popularity. Then in 1994, Black Hole Sun was released on their Superunknown album and it became an instant success landing them in the mainstream. The music “explored a menacing interior landscape teeming with pain, fear, fury, and defiance” and Rolling stone said that “‘it demonstrates far greater range than many bands manage in an entire career’”<ref> "The Band." Soundgarden. Soundgarden, n.d. Web. 21 May 2017.</ref>. The band addressed many social problems, which was highlighted by their talent. Black Hole Sun was chosen in this “mixtape” because it was a very popular song due to the fact that it came out right after Kurt Cobian’s death. This song stayed very true to the grunge sounds and can be compared with Nirvana. In light of recent events, I also wanted to honor and memorialize him and his work. Sadly, Soundgarden’s lead singer Chris Cornell committed suicide on May 17th, 2017. Many people, such as Chris, used music as their outlet to express the emotions or problems that they were facing, which was why it resonated so well with the younger generation. However, not everyone was able to able to conquer their demons, which was consequently the reason the whole grunge movement fell apart. So this section is an honor to Chris and his amazing work.<br />
<br> <br><br />
Black Hole Sun starts with the guitar strumming a chords and a dissonant echoing or feedback that sounds almost like sirens. The guitar sound is extremely distorted that it’s difficult to tell if the sound is actually from a guitar. The song then goes into a verse refrain repetition, where it oscillates between softer verse and louder chorus. It follows the classic grunge style with guitars, drums, and vocals being the major musical layers. The song is very repetitive and contains an almost euphoric feeling. Chris’s vocals are coarse and strained, but the lyrics are heard very clearly and concisely. In this song, many different themes of grunge music can be hear such as pain, alienation, and decay. The title Black Hole Sun sounds like the there is an all-consuming power taking over, which could represent a whole number of things ranging from depression to alienation. This song is very dark and can be seen as an inner reflection of his feelings. <br />
<br> <br> <br />
Lyrically Black Hole Sun was very easy to hear because the lyrics are annunciated but the lyrics themselves are very implicit and difficult to decipher. The lyrics had a very euphoric feel to them and surreal feel. The song has a very somber and sad sound to it with the echoing feedback. Black Hole Sun could mean many things and portrayed a distorted view on the world, which could be seen in the lyrics <div style="text-align: center;"> In my eyes, indisposed <br><br />
In disguises no one knows<br><br />
Hides the face, lies the snake<br><br />
The sun in my disgrace <br><br />
Boiling heat, summer stench <br><br />
'Neath the black the sky looks dead <br><br />
Call my name through the cream <br><br />
And I'll hear you scream again <ref> Black Hole Sun - Soundgarden. (n.d.). Retrieved May 23, 2017, from https://play.google.com/music/preview/Tydtarsbwyledpnwxjgp46ld7wq?lyrics=1&utm_source=google&utm_medium=search&utm_campaign=lyrics&pcampaignid=kp-lyrics </ref> </div> <br> This song can be seen as an inner reflection on oppression, depression, and isolation, which were very taboo topics to talk so freely about. His lyrics are a riddled with a twisted reality in which we all are so happy all the time and we hide the pain and anguish we feel to conform to what society wants to see to feel normal. This is painted very clearly in his very creepy and almost deranged music video, which Tom Barnes from Mic says “illustrates this seemingly hopeless fantasy, revealing the darkness hidden underneath the smiling face of idyllic, white-picket fence American life”<ref> Barnes, T. (2017, May 18). The secret meaning behind Chris Cornell's Soundgarden song "Black Hole Sun". Retrieved May 23, 2017, from https://mic.com/articles/177484/the-secret-meaning-behind-chris-cornell-s-soundgarden-song-black-hole-sun#.3Krgye9Om </ref>. It is like he is trying to escape from this dark and all-consuming power trying to drag everything with it. So as you listen to this song compare the technical aspects of the song to the grunge style for similarities and look for the themes of alienation, depression and decay. These will help you to enjoy the song more and find the place that Chris was coming from. <br />
<br> <br><br />
<br />
== Creep ==<br />
<span style="color:red"> ''''' Explicit language! ''''' </span> <br> <br><br />
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Artist: Radiohead <br><br />
Album: Pablo Honey <br><br />
Released: 1993 <br><br />
Buy here: https://itunes.apple.com/gb/album/creep-ep/id1112408383<br />
<br><br />
=== Creep Analysis:=== <br />
<br><br />
Radiohead is an English band that formed in 1985 before the start of the grunge music era. The band was formed at the all-boys Abingdon School by Thom York, lead singer, with two others from the school. The group formed little by little adding four others, but spilt up to attend university. Then in 1991, during the height of the grunge era, the group got back together to record a demo tape for EMI. They, hearing the grunge sound of their music, offered them a 6 album deal on the condition that they changed their name. The group Radiohead was then formed. They technically are generalized under alternative rock, but their song Creep contains the stereotypical grunge sound, which is why I chose this song. It also highlighted that the reach of Grunge music into the other parts of the world such as England. Interestingly when their hit Creep was first released, Radiohead was called a “Nirvana rip-offs, another one-hit wonder from the other side of the Atlantic plundering Nevermind for instant and fleeting fame”. <ref>Radiohead Biography. (n.d.). Retrieved May 24, 2017, from http://www.rollingstone.com/music/artists/radiohead/biography </ref> Ironically, they are still producing music today and have outlasted many other bands of the grunge era. <br />
<br><br><br />
Creep was one of Radiohead’s most popular songs and even though the group today is classified as alternative rock this song has the grunge sound that we have learned to know. Music starts with a constant beat on the drums and cymbals with a quite distorted guitar in the background. However unlike most grunge music, there happens to be light piano played. The song then crescendos to forte at the chorus and decrescendos to the refrain and will continue to vacillate from high to low throughout the whole song, which, as said before, is a stylistic feature found is most grunge music. Also the song has a verse and refrain repetition form. Like Kurt Cobain, Thom Yorke has a very low and almost burned out voice quality, which is why many believed this band to be a Nirvana knock-off. <br />
<br> <br><br />
The lyrics of Creep are again really hard to hear because of the lack of enunciation and of the lead singer’s burnout vocal quality, but it is also hard to understand the meaning behind the lyrics due to the fact that it is hard to find the meaning. Creep does have a sad and almost depressing sound to it with its slow and constant beat. The song is mournful of what he is not and this can be seen in the lyrics: <div style="text-align: center;"> You float like a feather <br><br />
In a beautiful world <br><br />
And I wish I was special <br><br />
You're so f*****' special<ref> Creep - Radiohead. (n.d.). Retrieved May 24, 2017, from https://play.google.com/music/preview/Tgarv4vwobsxyxtsott6p4qok5q?lyrics=1&utm_source=google&utm_medium=search&utm_campaign=lyrics&pcampaignid=kp-lyrics </ref> </div> <br> It seems like it's portraying society’s conformity of who is special and ordinary and because one does not fit these standards they are labeled. This leads to Yorke’s feelings of alienation. This can be seen when the song moves to the chorus. It sounds like the singer is calling out for people to hear his message of alienation in the chorus: <div style="text-align: center;"> But I'm a creep, I'm a weirdo. <br><br />
What the hell am I doing here? <br><br />
I don't belong here. <ref> Creep - Radiohead. (n.d.). Retrieved May 24, 2017, from https://play.google.com/music/preview/Tgarv4vwobsxyxtsott6p4qok5q?lyrics=1&utm_source=google&utm_medium=search&utm_campaign=lyrics&pcampaignid=kp-lyrics </ref> </div> <br> It sounds like he feels like an outside from those around him and that he doesn’t belong. This was a common ideal during the grunge era and many felt displaced and rejected by society. However according to lead singer Yorke, the song was about being a man in the 1990's and showing emotions to women (Paterson, 2011, p.47) <ref> Peterson, L. (2011, August). Teen Esprit Revisited. SPIN, 46-49. Retrieved from https://books.google.co.uk/books?id=Mpl58Kf1pXMC&pg</ref> So when listening to the song try to find the piano that is hidden in the song and look for its similarities to Nirvana, which is why I chose the English band. Keep in mind its slow beat and sad tone. <br />
<br />
<br> <br><br />
<br />
=Conclusion=<br />
<br><br />
During this milestone, I explored the musical genre of grunge to bring more attention to this often misunderstood music. So to do this, I explored grunge in its entirety covering where grunge first started to its impact on society. In my research, I found that grunge music gained almost a cult following beginning in Seattle, Washington and that it spread throughout the United States to many other places such as London England. However, in London crowd and other places there was not as much of an omnipresence. Bands that appeared out of the grunge movement from London did not make it as big in London as they did in the United States and interim United States grunge bands were more popular than their British counterparts. <br><br><br />
After that research, I then did an analysis of popular grunge songs from both the United States and London area to create a short deconstructed “mixtape” with the purpose of introducing grunge music to a person who has never listened to the music before. I then described what makes these songs grunge and the reason I choose them. For the future I would like to look further into the cultural effects of grunge music and how it continues to change the music scene still today. I would also like to see how teen today are being affected by grunge music due to the fact that I, who was not born in this era, found it very relatable to my life. There needs to be more research done on grunge’s impacts on both the culture and music of today, but this is a starting point for any interested in continuing the research.<br><br><br />
<br />
=External Links=<br />
Learn more about the bands: <br><br />
Nirvana: http://www.nirvana.com/ <br><br />
Bush: http://bushofficial.com/ <br><br />
Soundgarden: http://www.soundgardenworld.com/ <br><br />
Radiohead: https://www.radiohead.com/ <br><br />
<br><br><br />
=References=<br />
[[Category:Music Projects]]<br />
[[Category:2017]]</div>Kfconroyhttps://londonhuawiki.wpi.edu/index.php?title=Theater_Beyond_the_Actors&diff=19418Theater Beyond the Actors2017-06-22T16:06:41Z<p>Kfconroy: </p>
<hr />
<div>=Theater Beyond the Actors=<br />
by [[User:Lconroy|Lauren Conroy]]<br>[[User:Jaroy|Justine Roy]]<br>[[User:Kfconroy|Katharine Conroy]]<br><br />
<br />
{{Infobox<br />
|title = Theater Beyond the Actors<br />
|bodystyle = width:25em<br />
|image = [[File:The Play That Goes Wrong- sm- JR.jpg|x450px|alt=Milestone Image]]<br />
|label1= The Play That Goes Wrong<br />
|data1= Duchess Theater <br />
}}<br />
<br />
<br />
[[Category:Drama & Theater Projects]]<br />
[[Category: 2017]]<br />
<br />
=Abstract=<br />
<br><br />
This milestone looks at the elements that add to the success of a show, which includes scenic, props, lighting, sound, costumes, and poster & promotion. We explored what these elements were like in early theatrical performances in comparison to modern day performances. Some of our research came from attending several current plays in the West End as well as backstage tours of the [[National Theater]], [[The Globe Theater]], and the Royal Shakespeare Company. This information was implemented into our deliverable through our own technical design of the play, ''The Play That Goes Wrong'', which we attended on May 9th. <br />
<br><br><br />
<br />
=Preface=<br />
<br><br />
As a group, we had been very involved in theater at WPI. Two of our members were involved in a combination of acting, lighting, and scenic for the Showcase in D-Term. We had all taken various drama classes including, Theater Workshop and Introduction to Drama: Theatre on the Page and on the Stage and had been taught a lot about important dramas and what it takes to put on a show. We were excited to implement what we knew and what we would learn into our deliverable. <br />
<br><br><br />
In order for any show to succeed, there must be a dedicated, creative, hardworking production team. This team has the capability of creating a show that can move the audience to laughter, tears or both. Every aspect of the production is important and the show would suffer if a portion was neglected. As a group, we discovered how much time and effort it takes to create a cohesive, successful play. Each department in the production team has to communicate with each other to assure that everything is consistent and does not clash with another department's design. Our main objective was to create a solid design for each department of the production team, specifically scenic, props, lighting, sound, costumes, and promotion. Based on our research, we were able to determine how to create our concepts using specific makeup, props, construction material and lighting fixtures. Our final designs embody all that we have learned through reading and watching "The Play that Goes Wrong" at the West End. <br />
<br><br><br />
__TOC__<br />
<br><br><br />
<br />
=Introduction=<br />
<br><br />
Theater is one of the oldest art forms that expresses thoughts and ideas through visual entertainment and performative elements. It stretches back to the time of the Romans and ancient Greeks with traditions continuing into modern day. Performances at theaters can leave audiences crying, laughing, beguiled and awe-inspired, but it takes teams of area specialized people to make sure these productions are successful. Technical groups such as scenic, props, lighting, sound, costumes, and poster & promotion aid in the creation of setting the perfect atmosphere for actors and actresses to deliver their lines and move audiences. These groups are the unsung heroes of what makes theater so spectacular.<br />
<br><br><br />
The goal for this milestone is to create our own technical designs for ''The Play that Goes Wrong'' utilizing the information we learned from the background and by seeing the show. Each of us put our own spin on the scenic, props, lighting, sound, costumes, and promotion of the play. For each section, we have some type of physical diagram or photograph displaying what we would have done if we were put in charge of each technical department of the show. The results and a statement of why we chose to design our set, props, lighting, sound, costumes, or promotional item the way we did are placed in the deliverable section.<br />
<br><br><br />
<br />
=Section 1: Background=<br />
<br><br />
When people go to watch a show, they may think of the amazing acting and/or singing that is taking place. They ooh and aah at the magnificent story told by these actors and actresses, but little do they think of the unsung heroes behind the scenes who work tirelessly to make the characters look and perform the way they do on stage. There is much more to a show than just the actors. Behind the actors, there is a huge line of support crew contributing to every aspect of the show beyond the performers who, without them, the show would not be able to go on. These people belong to the groups of scenic, props, lighting, sound, costumes, and promotional aid. Below is an in-depth analysis of these technical groups that make shows come alive. <br />
<br><br><br />
==Scenic==<br />
<br><br />
The set is affected by a number of factors including theater style, the plot, the setting, the tone, the budget and the designer's imagination. <br />
===History & Techniques===<br />
Going all the way back to the ancient Greeks, their set was just a backdrop. It was designed to provide context for the show and give a place for the actors to hide offstage. In their later years, the backdrop developed to have doors for the actors to enter and exit. The Romans adopted the Greek style and not much changed for the Renaissance and Commedia Del'Arte eras. (Carver, 2009, p 4-11) Between the 16th and 19th centuries, set designs continued to develop. During this time, the wing and drop style came into being. Wings refer to the extension of the backdrop downstage on either side. These were also called legs. Above the stage, a border was added to round out the set. These changes had the added benefit of hiding the inner workings of the theater. Another popular style to emerge was the use of Periaktoi. Periaktoi were three-sided columns that would be arranged side by side. The backdrop would be divided into columns and put on one side of each Periaktoi. The Periaktoi could then be turned, sometimes with the use of a pulley system, to reveal a given backdrop. Flying effects also developed. A platform that was attached to a vertical track could be raised and lowered with pulleys. In an effort to disguise the system, a two-dimensional cloud would mask the platform. Trolley systems for moving set pieces also developed. The pieces would be attached to tracks under the stage that would be pulled along their path using ropes and a crank. This is also the time that the iconic trap door came into being. The door in the floor would open and actors could enter or exit via ladders or primitive elevator systems. The 18th century brought technology advances that enabled quicker transitions and a desire for more realism. This desire for a more realistic experience led to the box set. The box set typically is comprised of three walls, a ceiling, and a scenic ground row. Previous stages were made at an incline to aid in visibility and acoustics with the back of the stage at a higher elevation than the front. This was done away with in order to make the set appear more natural. The box set also led to the convention of the fourth wall. This division between the performance and the audience was furthered by masking the stage from the audience before the show with a curtain. While flying was phased out of style because it was unrealistic, casters (the wheels seen on shopping carts) became the primary means for moving scenery. The revolving stage also grew in popularity as it enabled quick scene changes. The set would be constructed on a platform, built as part of the stage, that could spin. The platform with the scenery would then spin to reveal new sets. (Carver, 2009, 194-196) All of this technology is the basis for current scenic design. While technology has advanced greatly since those time, many of the concepts are still used today. <ref>Carver, Rita Kogler. Stagecraft Fundamentals. 1st ed. Boston: Focal, 2009. Print.</ref><br />
<gallery mode="packed" heights=300p caption="Periaktoi"><br />
Image:Beach Periaktoi- sm- JR.JPG<br />
Image:Periaktoi Transition- sm- JR.JPG<br />
Image:Forrest Periaktoi- sm- JR.JPG<br />
</gallery><br />
<br />
===Design Considerations===<br />
As I said previously, there are many factors that go into the set design. Clearly, there are many options available to scenic designers and they must choose those that best achieve their creative image within their constraints. Depending on the venue and the show, the budget can vary greatly. Broadway and West End shows have massive budgets that allow for costly effects. These shows can showcase expensive effects such as pyrotechnics and trap doors. On the other hand, the local theater will have a much smaller budget and will have to keep the set simpler or get quite creative with the resources they have. Another important factor is the style of theater. Most people are accustomed to the proscenium theater where all of the action takes place behind the proscenium arch. With a proscenium stage, the designer only needs to worry about the audience on one side of the stage and what can be seen at different angles to the stage. However, thrust stages that have the audience on three sides, arena stages with the audience on all sides and black box theaters that can have the audience theoretically anywhere require more careful consideration. It is easy to block the view for parts of the audience due to large scenic pieces. While a couch may be a useful place to sit, this could result in blocking the view for those situated behind or to the side of it if it is not carefully considered. Spectators' view should never be compromised unless for very good reason as every person is paying to see the show and should have a good experience. In addition, limited backstage space as a result of the style of the stage could limit set changes. (Carver, 2009, p 14-19) Naturally, the tone, setting, and plot of the show all contribute to the designer's vision for the set. The set must reflect the environment the show takes place in, be a functional space for the actors to work in and contribute to the feel of the show.<ref>Carver, Rita Kogler. Stagecraft Fundamentals. 1st ed. Boston: Focal, 2009. Print.</ref><br />
<gallery mode="packed" heights=150p><br />
Image:Proscenium- sm.jpg|Proscenium Stage<ref>By User:FA2010 (Own work) [Public domain], via Wikimedia Commons</ref><br />
Image:Thrust-sm.JPG|Thrust Stage<ref>By Wharton Center (Own work) [CC BY-SA 3.0 (http://creativecommons.org/licenses/by-sa/3.0)], via Wikimedia Commons</ref><br />
Image:Arena- sm.jpg|Arena<ref>By Savino Paolella [CC BY 2.0 (http://creativecommons.org/licenses/by/2.0)], via Wikimedia Commons</ref><br />
Image:Black Box.jpg|Black Box Theater<ref>See page for author [CC BY-SA 3.0 (http://creativecommons.org/licenses/by-sa/3.0)], via Wikimedia Commons</ref><br />
</gallery><br />
<br />
===Design===<br />
While there is no mandatory process for set design, it typically includes many sketches and models of the design. This is important so the set designer can effectively communicate their vision for the set with the director and other departments to create a cohesive image. Early stages of design might be represented through sketches then renderings. As the design develops, a scale model of the set on the stage will be created. This allows for people to get a good idea of the space there is to work with. Audience views, lighting and functionality can be tested. Once the design is finalized, technical drawings will be sent out to the fabrication shops for it to be constructed. (Carver, 2009, p 197-205) When designing the set, not only are there the previously mentioned techniques and considerations for the designer to keep in mind, there are also artistic considerations. The first thing a designer might do is research the setting of the show. For example, if the show is set in the past, then the designer will want to capture the architecture of the time. Once they develop an idea of what the set should convey and the elements that it should contain, the designer must decide how to put it all together. In part, this may come from how an actor is supposed to move through the space. If the set is a house that the character walks through then it might be necessary that the kitchen and living room are located next to each other. However, much will be left to the designer's discretion. One rule of thumb is the rule of thirds. Imagine that the scene is divided into a three by three grid. Positioning focal points along the two imaginary horizontal and vertical lines creates an image that is supposed to be more visually appealing. It is typical for a person to just focus on the center of what they see. By creating the other focal points, it draws the viewer's attention to more of the scene and makes the image more interesting. Set design calls on many more features seen in art. Line style, color, texture, line weight, shape, pattern, scale, and shades should all be taken into account. Cool colors create a sad or mellow tone whereas warm colors are happier and more energetic. Straight lines can be harsh while curved lines are typically soothing. Bright colors indicate a happy mode while dark colors can be upsetting and mysterious. (Carver, 2009, p 33-73) Therefore, set design is a process of considering a variety of elements and determining the best way to combine them to achieve the desired effect. There is no one correct design.<br />
<ref>Carver, Rita Kogler. Stagecraft Fundamentals. 1st ed. Boston: Focal, 2009. Print.</ref><br />
<br />
===Fabrication===<br />
Designing the set is still only just the beginning. Once the technical drawings are handed over, the set still needs to be created and there are a variety of ways to achieve this. Sometimes the drawings will specify details such as materials. Often times it is the decision of those making the set. Most of the time the set is not made of what the audience would expect. Large marble and brick structures could be painted wood. Stone or metal statues could be carved from foam. In the world of theater, nothing is as it seems. This is where the artistic skill of those creating the set comes in. A common set piece is the flat. A flat is essentially a painted piece of plywood or some other composite board. When painted correctly, the flat could appear to be much more than it is. Scenic artists have developed techniques for convincingly painting the appearance of different surfaces onto flats, backdrops and other scenic pieces. Marble is created by painting several layers of paint, according to certain complimentary color schemes, and swirling the paints. Brick is also achieved by layering paint. Often times clay or other mediums can be used to add texture beyond what painting can provide. This part of the process has endless possibilities. If an artist has a vision, they are sure to find some creative method of fulfilling it. (Carver, 2009, p 205-244)<br />
<ref>Carver, Rita Kogler. Stagecraft Fundamentals. 1st ed. Boston: Focal, 2009. Print.</ref><br />
<br />
===Current Examples===<br />
National Theater's [[National Theater#Theater Space#Olivier Theater|Olivier Theater]] is set up for advanced scenic techniques and designs. The fly is 30 meters high and automated enabling quick and smooth set transitions. It has enough power to lift a double decker bus enabling them to store large scenic elements. The most notable technology they have is the drum under the stage. The drum spins enabling a rotating stage. In addition, it is split into two halves with each half being a stage lift. In the past, these lifts have been used to reveal the cross section of a ship in a production of "Treasure Island". The recent production of "Twelfth Night" made good use of the technology available. The set featured a revolving stage. There was a wedge that could rotate and split apart into different slices that would reveal the various sets. The revolving motion was also used to indicate motion and travel. For example, as the actors drove off stage at the end of the first scene, the stage also spun giving the cars more distance to travel as well as transforming the set. In addition, there were two trap doors used to reveal a hot tub and a fountain. A revolving stage was also used in the performances of "Harry Potter and the Cursed Child" at the Palace Theater. The effect was not as dramatic as in "Twelfth Night" where the entire set rotated. Instead, the revolving stage was used to create motion. Specific scenic elements were able to wobble back and forth or spin. For example, Hogwarts' moving stairs were able to spin to mimic their movement. Sometimes the stage would rotate to counter the movement of a character enabling them to walk further than they actually had. Other times characters would be moved without them walking. The set itself was simplistic in comparison to the spinning set seen at the National Theater. There was a backdrop and flats along each of the wings. These flats were on some sort of carriage system that enabled them to be slid side to side. This came in handy when the stage had to be transformed into the Forbidden Forrest. The flats were able to be slid into the stage space to create the trees. The set of "Don Juan in Soho" at the Wyndham's Theater was also notable. While much of it was created through the use of furniture and projections, the set underwent a radical change at the end of the show. The entire stage space was transformed when the sides of the stage swung outward. This created a wider image. The ceiling then tilted down towards the back of the stage which heightened the effect of the widening of the stage while focusing attention towards the back of the stage where actors were. The [[Royal Opera House]] also has a unique system for managing their set. They have a wagon system designed by Rolls Royce. When sets are delivered to the theater, they are stored in a conveyor system. When they are needed, the stage and set are placed on wagons that can slide into a spot on the permanent stage and be lowered hydraulically into place. This enables them to completely switch between the sets for two different shows in just twenty minutes. Furthermore, the Royal Opera House makes the entirety of their sets off-site in Thurrock. In contrast, National Theater makes roughly 60-80% of their sets. Their set building process takes place over just six to eight weeks. Parts will be constructed from scratch or bought and modified if it proves more economic and efficient. One trick they use when creating intricate or heavy set pieces is to use foam. For example, decorative molding that would take a long time to carve out was created by making a mold and filling it with expanding foam. The foam was then painted gold and appeared as if it was authentic. Unfortunately, despite all the work that goes into these sets, they cannot be reused due to the copyright on them. After the run of a production, they are put in storage until they are eventually recycled.<br />
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<br />
==Props==<br />
Props, simply put, are pieces of property of the theater company that enhances the set and story. It comes as no surprise that "prop" is just the shortening of property. Props range from elaborate falling chandeliers to plain coffee cups. It is an umbrella term for anything that is portable on stage and does not fall into any other category. Ironically, food and drink consumed on stage fall under the category of a prop. They are used to enhance the plot and characters or the show. Props have been used since the beginning of theater, most notably in Greek and Roman use of masks (Bieber, 1961, p.) <ref> Bieber, M. (1961). The history of the Greek and Roman theater: 2d ed., rev. and enl. Princeton, NJ: Princeton University Press. </ref> However, there is not a lot of history on props as they are often less memorable than a costume or wig, despite that many times they are the height of the tension or excitement in a show. Andrew Sofer demonstrates this best with the use of a prop gun as the medium of drama for a show’s plot. He uses the example of Henrik Ibsen’s “Hedda Gabler” to show the double meaning between killing time and how Hedda must kill herself to end time (Sofer, 2003 p. 167- 203). <ref> Sofer, A. (2003). The stage life of props. Ann Arbor, MI: Univ. of Michigan Press. </ref> He does an in-depth analysis of the symbolism of gun usage in different shows to kill not only one’s self but also all that it represented. One can see that props have a special place on a show’s stage and are necessary to communicate ideas important to the plot. <br />
<gallery mode="packed"><br />
Image:figs-1620590_640.jpg|''Edible Props'' <br> Couleur. (2016). Fig photograph. Licensed under Creative Commons Zero on Pixabay.com<br />
Image: burning-money-2113914_640.jpg|''Flammable Prop'' <br> Intellectual. (2017). Prop photograph. Licensed under Creative Commons Zero on Pixabay.com<br />
Image: glasses-543117_640.jpg|''Glasses'' <br> Timbo84. (2014). Glasses photograph. Licensed under Creative Commons Zero on Pixabay.com<br />
</gallery> <ref> Couleur. (2016, August 25). Fig [Photograph]. Retrieved from: https://pixabay.com/en/figs-red-coward-fruit-fruits-sweet-1620590/ </ref> <ref> Intellectual. (2017, January 24). Prop [Photograph].Retrieved from: https://pixabay.com/en/burning-money-dollars-cash-flame-2113914/ </ref> <ref> Timbo84. (2014, November 23). Glasses [Photograph].Retrieved from: https://pixabay.com/en/glasses-ray-ban-black-sehhilfe-543117/ </ref><br />
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<br />
==Lighting==<br />
===The Early History of Lighting in Theaters===<br />
The theaters of the ancient Greeks were always open and performances always took place during the day. They based the start time of the show on the position of the sun in the sky. That way, if darkness was needed, they would have the night sky. In Shakespeare’s time, theaters were moved indoors, so the candles were needed for lighting. The first type of candles used was called footlights because they were located near the actors’ feet. Traditionally, these lights were located on the downstage edge and apron of the stage. Eventually, just putting candles at the edge of the stage would no longer suffice as more control over lighting was desired. It was then discovered that putting a reflective surface behind the candle, between the audience and the actor, would intensify the light. To change the color of the lights, colored liquid would be placed between the footlight and actors. Gas became popular in the late 1700’s and the early 1800’s when it began to be pumped into buildings for lighting. This lead to the invention of the limelight. This device is created by directing a gas flame at a cylinder of calcium oxide. This invention was first used in London at the Covent Garden Theater. In the 1850’s, Joseph Swan, an English physicist, and chemist began working on a light bulb using carbonized paper filament in an evacuated glass bulb. This lightbulb had a low resistance and was not ideal for use in theater. Thomas Edison improved on Swan's design and created a high resistance lamp in a very high vacuum which could burn for hundreds of hours. The fluorescent lamp was created a little after the development of original light bulb. This is a gas-discharge lamp using electricity to excite mercury vapor. The excited mercury vapor produces a short-wave ultraviolet light that causes a phosphor to fluoresce, producing a visible light. Halogen lights are incandescent lights that use a tungsten filament sealed into a compact, transparent, quartz envelope. The envelope is filled with an inert gas and a small amount of halogen, which increases the life of the bulb. (Carver 270-279)<br />
===Conventional Fixtures===<br />
Conventional fixtures are non-moving lights usually hung off of a truss and batons. They are flown in and out to focus the lights on the stage so that performers and items can be spotlighted. <br><br />
All conventional fixtures have a lens, yoke, lamp housing, power cable, accessory holder, and a pipe clamp. At the front of each fixture is the accessory holder for gel frames and directly behind that is the lens holder. There are different types of lenses such as VSNP (very narrow spot), NSP (narrow spot), MFL (Medium Flood), and WFL (Wide Flood), which do as their names suggest. In the middle of a fixture is the yoke. This is used to angle the fixture to focus the light. At the end of the fixture are the lamp housing and the power cable. The housing allows you to change the lamp when it goes out. The cable allows you to connect the fixture to power. Some can even come with LED lamps. (Carver 280)<br />
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====Beam Projector====<br />
{{Infobox<br />
|bodystyle = width:25em<br />
|image = [[File:Beam.JPG|110px|alt=Image ]]<br />
|label2 = '''Description'''<br />
|data2 = Beam Projector Effect (WIKI Commons)<br />
}} <br />
This fixture has an open face and produces a narrow beam of light by using two reflectors. The primary reflector is located in the back of the fixture and is a flat parabolic reflector. In the front of the lamp is the secondary reflector which is spherical and reflects the light from the lamp. Towards the back is the parabolic reflector. The parabolic reflector collects the light from the lamp into intense parallel beams of light. (Carver 280)<br />
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====Scoop==== <br />
{{Infobox<br />
|bodystyle = width:25em<br />
|image = [[File:Scoop.jpg|130px|alt=Image ]]<br />
|label2 = '''Description'''<br />
|data2 = Scoop Fixture (WIKI Commons)<br />
}} <br />
These fixtures are open-faced units that have no lens. The housing for the light itself is ellipsoidal in shape and the inside of a scoop is painted white to reflect the light forward. There are few possibilities when focusing these lights because they can only pan or tilt. Some may joke that one may cook their act if they solely use these lights to light the stage. Scoops come in several sizes from 10 inches to 18 inches. (Carver 280-281)<br />
====Fresnel====<br />
{{Infobox<br />
|bodystyle = width:25em<br />
|image = [[File:Fresnel.JPG||140px|alt=Image ]]<br />
|label2 = '''Description'''<br />
|data2 = Fresnel Fixture (WIKI Commons)<br />
}} <br />
These lights are versatile because they can be used as a stage wash or to focus on a single character. Fresnel lights are soft-edged and have spherical reflectors in the back with sliders attached to the bottom to allow for easy focus. By adjusting the slider forward and backward the relationship of the reflector and the lamp to the lens is changed. Fresnels come in a wide range of sizes from 3 inches to 24 inches and are arguably one of the most used conventional fixtures. (Carver 281)<br />
====Source 4====<br />
{{Infobox<br />
|bodystyle = width:25em<br />
|image = [[File:S4.jpg|150px|alt=Image ]]<br />
|label2 = '''Description'''<br />
|data2 = Source 4 Fixture (WIKI Commons)<br />
}} <br />
The original name for this fixture is the ellipsoidal reflector spotlight or ERS. Many people also refer to it as a leko light, while some others call it a Source 4 because the is the most popular fixture from the ETC company. The Source 4 has an ellipsoid reflector and two lenses. This means the user can change the focus of the beam by changing the distance between the two lenses. Depending on the focus, the user can get a harder edge or softer edge. It is the most flexible and most used fixture in the industry. They also have rotational or stationary shutter barrels. By pushing the shutter into the fixture, the user can mask a portion of the light that comes through the fixture. The rotational shutter barrels allow users to shutter abnormal light angles. Exchangeable lens tubes that come in: 5°, 10°, 14°, 19°, 26°, 36°, 50°, 70°, and 90° can also be purchased. (Carver 281)<br />
====PAR====<br />
{{Infobox<br />
|bodystyle = width:25em<br />
|image = [[File:Para.jpg|150px|alt=Image ]]<br />
|label2 = '''Description'''<br />
|data2 = PAR Fixture (WIKI Commons)<br />
}} <br />
PAR is actually the name of the lamp that is in the fixture. It stands for parabolic aluminized reflector. The lamp and the reflector are sealed together with a lens which is then inserted into the back of a tube, or “can”, to help shape the beam of the light. Note: Some people call these fixtures PAR CAN. This fixture and the Source 4s are the two fixtures that use different lenses such as the VSNP, NSP, MFL, and WFL. Most PAR beams have an oval shape that can rotate to change the direction of each beam’s axis. Some of the newer versions allow you to separate the lamp from the lens, making them very similar to scoops. (Carver 281-282)<br />
====Strip Lights==== <br />
{{Infobox<br />
|bodystyle = width:25em<br />
|image = [[File:Strip.jpg|110px|alt=Image ]]<br />
|label2 = '''Description'''<br />
|data2 = Strip Light (WIKI Commons)<br />
}} <br />
These are large, bulky lights that usually remain in one place for multiple shows. They can have lights of multiple colors or just white lights. They are hung using C-clamps. Strip lights are used for general stage washes or to provide back lighting so the actors can see. (Carver 284)<br />
===Intelligent Fixtures===<br />
Intelligent fixtures are moving fixtures. They can also be hung off of a truss and batons or they can sit on stages and other flat surfaces. Their placement is important because they have a limited range of motion. Unlike conventional fixtures, intelligent fixtures require programming. They are addressed to the directory and is able to understand the user. They are more difficult to program than conventional lighting because they have more than one attribute per fixture that must be controlled. For concerts, these fixtures usually need a skilled live operator who knows what the performer is doing onstage and the cues for lighting changes. The most popular brand for these types of fixtures is Martin and the most popular fixtures are their MAC Auras, MAC 2000 profile/wash movie light and Seladore Desires.<br />
(Carver 285)<br />
===Controllers/Consoles===<br />
In order to raise and lower dimmable fixtures, users use control boxes called dimmers. Dimmer racks have patch bays where fixtures can be associated with a letter and a number to keep track of and control each light individually. A user may run DMX, digital multiplex, to run the lights off of a lighting console. <br><br />
Consoles take the patched lights and allow users to be able to control the lights as cues from shows. This process is tedious but adds so much depth. Imagine ''Defying Gravity'' without that beam of light that suddenly shows on Elphaba. The scene would have less impact without it. Cues are usually named after what scene and act they are in. Usually, a board operator is told when to play the cue by the stage manager via ClearComm. (Carver 288-289)<br />
===Accessories===<br />
GOBOs are different patterns that are cut out in metal and placed in a Source 4 using a GOBO holder. Shadows are cast by the GOBO to achieve the desired effect. Gels change the color of a light fixture without having to change the lamp bulb. They can be diffused with white and darkened with another color. A top hat helps reduce flare and cut out some excess light. Barn doors are placed in front of soft edge fixtures such as fresnels or PARs to block parts of light beams that spill into the border (Carver 289 291).<br />
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==Sound==<br />
===The Ancient Greeks===<br />
The Ancient Greeks are one of the first civilizations to create and build theaters for performances. Many theaters today use concepts and designs that were contrived by this group of people. The design of these theaters was quite simple, in fact, they were designed based on a circle. The diameter of a theater was often 80 feet in length, which is two times the size of most theaters today. In order for the sound of the actors to reach every one of the 12,000 people in the theater, the construction of the building had to be to specifically engineered for sound to travel up the stadium seating.<ref>Carver, Rita Kogler. Stagecraft Fundamentals Second Edition: A Guide And Reference For Theatrical Production. 2nd ed. Burlington, MA and Jordan Hill, Oxford, UK: Focal Press, 2012. Print.</ref> The first documented discussion of concerns about stadium acoustics versus view was brought about by the Roman Vitruvius in the first century BC. He presented the idea that a theater with acoustic dissonance, circumstance or resonance would be unsuitable for audiences and therefore actors. He proposed that careful attention must be made to the selection of the theater site and the type of performances that would occur there, whether they are acting or singing. It was Vitruvius who sparked the development of acoustics of Greek theaters, which spanned over two centuries.<br />
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{{Infobox<br />
|title = Sound Ray Paths<br />
|bodystyle = width:25em<br />
|image = [[File:Reflect.jpg|320px|alt=Image ]]<br />
|data2 = Figure 1 ''Auditorium Acoustics And Architectural Design'' by Michael Barron <br />
|label2= '''Description'''<br />
}} <br />
After an extensive trial-and-error process, the Greeks created a theater design that optimized the sound quality and volume for all members of the audience. Sound propagation in a Greek theater was essential to increase the volume. Every member of the audience would receive direct sound based on three reflections of sound; the reflection from the front of the horizontal orchestra, the reflection from the front chorus on the rear half of the orchestra, and the reflection for the actors on the raised stage.<br />
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Figure 1 illustrates the previously described reflection sequence. The reflection from the orchestra carries speech 40% further than without the modification. Greek theaters have the distinct feature of a steep seating rake, around 20 to 34 degrees. Although this is not confirmed, there is no doubt that the higher angles of incidence to the audience seating have a profound effect on the sound quality for the audience. Though these modifications aided in the increased volume of the actors, there had to be silence from the surrounding area of the theater and the audience for unassisted speech to be audible. This is why many theaters were located in urban locations.<ref>Barron, Michael. Auditorium Acoustics And Architectural Design. 1st ed. London: Spon Press/Taylor & Francis, 2010. Print.</ref><br><br />
{{Infobox<br />
|title = Mask Filter<br />
|bodystyle = width:25em<br />
|image = [[File:Polar2.JPG|320px|left|alt=Image ]]<br />
|data2 = Figure 2 ''The sound effect of ancient Greek theatrical masks '' by Fotios Kontomichos, Charalampos Papadakos, Eleftheria Georganti, John N. Mourjopoulos and Thanos Vovolis<br />
|label2= '''Description'''<br />
}} <br />
The most notable theater for its location is the isolated site of Epidaurus, which accommodated around 14,000 people and dates from around 350 BC. In the second century, this theater was considered the most perfect of all the Greek theaters. Seats at this theater reached distances of 70 meters from the front of the stage. How could sound reach the entire audience? The two factors that amplified the sound were masks and the theater design. With a distance that far, the actors used masks to act as a microphone to spread the sound of the actor's voice further. The masks, themselves, were constructed from hardened liquid stone and varied in design aspects such as whether they had open ears or an open mouth. Modern engineers have replicated these masks by creating mannequins that resembled the mask form and produced the type of sound that had come from these actors. The measurements they took produced a set of h<sub>θi</sub>(n) of discrete time impulse responses measured for different angle intervals with the mask on the mannequin. From there, the group was able to determine the corresponding magnetite frequency responses. The final results indicated that mask has the properties of an angle-dependent acoustic filter and the acoustic radiation of the actor's voice was significantly enhanced for the off-axis scenarios. <br />
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Figure 2 is based on the measurements from the manikin and shows the polar patterns for the mask filter and the mask radiation for octave bands centered at 0.25,1,2,4 and 8 kHz.<br />
The acoustics of the theater of Epidaurus were flawlessly tuned for each performance. Any sound produced in the orchestra was reflected and scattered around the theater of the hard limestone surfaces and ultimately reached the audience's ears. The reflected energy reached the listeners with a very small delay of 40 milliseconds. At all positions of the theater the most significant frequencies of the male speech, with a pitch ranging from 125-140 Hz, first vocal harmonics, at 250-420 Hz, and formants, from 300 HZ to 3 KHz, were amplified while keeping the richness and color of each voice. Any sounds that were outside of those ranges were filtered out to avoid the early beginnings of feedback.<br />
In order to see the effects of theater's specific design and the use of the mask working together, engineers denoted h<sub>TIRθ<sub>jrj</sub></sub>(n) as the discrete-time impulse response of the "theater-filter" and measured it for azimuth angles θ<sub>j</sub> and distances of r<sub>j</sub>. This combined impulse response, CIR, was then denoted at h<sub>CIRθ<sub>ijrj</sub></sub>(n) The resulting formula is able to calculate the acoustic results in terms of gain.<br />
<ref>Kontomichos, Fotios et al. "The Sound Effect Of Ancient Greek Theatrical Masks". ICMC. Athens: N.p., 2014. Web. 6 June 2017.</ref><br />
[[File: Stage.JPG|x320px|left|thumb| Plane Measurement and Coordinates for Theater Source and Receiver Positions and Masks]]<br />
[[File: Mask.JPG|x320px|right|thumb| Schematic diagram ]]<br />
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===21st Century Sound Systems===<br />
{{Infobox<br />
|bodystyle = width:25em<br />
|image = [[File:Soundsystem.png|320px|alt=Image ]]<br />
|label2 = '''Description'''<br />
|data2 = Sound System Diagram (WIKI Commons)<br />
}} <br />
Since the time of the Greeks, technology has evolved and become more advanced. The invention of electricity has played a key role in increasing the volume and quality of the actor's vocals. Acoustics refers to the sound quality of a room in reference to the overall audio quality without any sound amplification devices such as microphones and speakers. When creating a theater, the ambient noise that is surrounding the building or room when there is no planned audio must be considered. The Greeks dealt with this by having their theaters located in the middle of nowhere, but in today’s times, that would be utterly useless and unfeasible. Who would want to go to a play or musical in the Sahara Desert? That is why today many theaters pad their walls and make sure the stage is covered by a sound-absorbing curtain, which also doubles as an object to hide the cast until ready. Modern actors may not have learned the proper way to project their voice so that the audience in the back can hear. Modern-day sound systems have let actors and actresses become more lenient with projecting their voices because, with the adjustment of a gain knob and the increase of a slider, their volume is magically louder. Along with the actors and actresses on stage, there are orchestra reinforcements to add to the mood of a performance. However, there is a delicate balance between the actors and actresses and the orchestra because louder does not mean better. It is important to know the difference between amplification and reinforcement or the show could go horribly wrong. Amplifying denotes that the volume of an actor, actress or instrumentalist is increasing. Reinforcement is all about moving sound to create the perfect environment which requires a subtle touch. Amplification is noticeable whereas reinforcement shouldn’t be. Today's sound engineer must also account for the sound of background noise created newer technologies such as HVAC systems<br> (Carver 364)<br />
====PA Systems or Sound Systems====<br />
For a basic sound system, there are three main areas: input, output, and processing. Inputs are quite simple. They are the microphones that are connected via wires or wirelessly to a mixing console. The mixing console takes those inputs and can make pre-amplification changes on the microphone level signals to line levels. The signal then goes through equalization. Different filters can be applied to each microphone. This is helpful for equalizing different voices such as a female voice versus a male voice. Low pass filters are used on male voices so that any noise that comes through the microphone outside of the specified frequency is negated. Similarly, a high pass filter is used for female vocals. Level control is then used to process the signal and send it to the output. The output of a console is an amplifier, most commonly a speaker. The speaker converts the signal that is received into sound waves that people can hear and hopefully enjoy. Sound equipment has many variations. Inputs can include microphones (wireless, lavier, wired, wireless mic packs), contact pickups, magnetic pickups, laser pickups and optical pickups. Signal processors can include reverberation, delays, and amplifiers. Outputs can be loudspeakers (subwoofers, woofers, midrange, and tweeters) and headphones. The most important part is choosing the right equipment for the right show and location as well as speaker placement. For example, subs and heavy bass would not typically be used for a ballet. (Carver 366-367)<br />
====Microphones====<br />
{{Infobox<br />
|bodystyle = width:25em<br />
|image = [[File:Mic.JPG|320px|alt=Image ]]<br />
|label2 = '''Description'''<br />
|data2 = Different Types of Mics (WIKI Commons)<br />
}} <br />
The most basic function of a microphone is to pick up the sound and convert that acoustic sound to electrical energy. There are two main groups of microphones, dynamics, and condensers. Dynamic microphones are versatile, reliable, durable and, most importantly, affordable. The SM57 and SM58 are able to handle anything that life throws at it. The SM58 is used widely as a microphone for vocalists and is most notably identified by its ball grille. The SM57 is more for instrumentalists and can have a windscreen for heavy wind or breathing. Both the SM58 and SM57 are very similar in design and range and can be used interchangeably. Condenser microphones are more likely to be seen in theaters because they have an extremely versatile range. These microphones are quite special because they need 48-volt phantom power. On most mixers, the sound person must switch on phantom power to the assigned microphone. There are various styles of microphones because a handheld mic may not appeal to everyone. A lav or lavalier mic is very small and can be placed on a person’s shirt or in a person’s wig/hairline. Contact pickups are similar to microphones and are attached to instruments to pick up the sound through its vibrations. Pressure-response microphones are also used for instruments. They are mounted on a flat surface with an attached plate that increases gain.<br />
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Impedance of a microphone refers to the amount of resistance a microphone has to an audio signal. The lower the impedance, the less issues a microphone may have when using a longer cable and dealing with noise interference. Typically a lower impedance means a better-quality microphone, therefore a perfect choice for theater.<br />
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Gain deals with the amplification of a microphone through a sound system. If set up properly, meaning the system, microphones, and speakers, gain can be maximized. Handheld microphones have more latitude when it comes to gain versus its wireless counterpart. However, as the technology has gotten better, lavalier microphones have gotten smaller and better, but at a very high financial cost. Lav mics can be seen almost everywhere such as in theaters and on television news shows. The loop is sized for the person’s ear and a piece of tape is placed on their cheekbone and behind their ear. The pack is the hidden in the shirt making sure the person has enough neck room to not pull the mic off. <br />
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Area micing is a technique used for large bands or choirs. An array of floor microphones is placed on the ground and the board operator increases or decreases the gain as needed. For this, it is better to use an odd number of microphones which will provide the most options of which microphones to use at any given time. (Carver 364-368)<br />
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====Mixing Consoles====<br />
{{Infobox<br />
|bodystyle = width:25em<br />
|image = [[File:Mix.jpg|320px|alt=Image ]]<br />
|label2 = '''Description'''<br />
|data2 = Digital Mixing Console (WIKI Commons)<br />
}} <br />
All consoles work on the same concept. They take inputs, process the signal via equalizing, delays and reverberation, and transfer the audio to outputs. Each console is different with a given number of inputs and outputs as well as limits to the types of adjustments one may make to the audio signal. There are two types of consoles, analog and digital. Analog boards come in a range of sizes. Examples include the Mackie 1402VLZ4 14-Channel Compact Mixer and the GL4000. The drawback of these boards is that there are no equalizers, delays, or special effects, which are available on digital boards. Digital boards are the newest in sound engineering technology and are continually being developed. Digital consoles can be more flexible. Some digital boards have mobile device applications that allow a person to control the board from the stage instead of from front of house making equalizing easier and faster. (Carver 370)<br />
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====Speakers and Headsets====<br />
There are four types of speakers: tweeters, midrange, woofers, and subwoofers. Tweeters are meant for producing sound in the high-frequency range. Midrange speakers are designed to reproduce sound at midrange frequencies. Woofers are for low frequencies and subwoofers are to produce sounds at very low frequencies. Subwoofers are usually the speakers that make the floor shake at a dance party. Line arrays are groups of speakers that are hung vertically or horizontally. They have a very narrow spread of sound per speaker. Wedges or monitors are used by most musicians and vocalists so they can hear themselves throughout the performance. Selected sounds are mixed through the soundboards and then output through each wedge. Positioning the speakers is key because some speakers only have 90-degree dispersion. <ref>Mellor, N. (2017). Speaker Off Axis: Dispersion Specifications and Off-Axis Response Plots - Acoustic Frontiers. Acoustic Frontiers. Retrieved 18 June 2017, from http://www.acousticfrontiers.com/dispersion-specifications-and-off-axis-response-plots/</ref>The best positioning for these speakers is in pairs facing the corners of the space diagonal to them. <br />
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Headsets are used for stage managers and other run crew to know what is going on. They allow communication between the groups. Different groups can be on different channels like handheld radios. Clear-com is the most popular and is easily setup using XLR to the control box. It comes in wired and wireless versions. (Carver 371-377)<br />
<ref>Carver, Rita Kogler. Stagecraft Fundamentals. 1st ed. Boston: Focal, 2009. Print.</ref><br />
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==Costumes==<br />
=== History and Method ===<br />
Costumes are very important in transforming an actor into the character they are playing. Costumes are also used to set the scene of the play. For example, Victorian Era costumes will make the show appear to be set in the Victorian Era. Costumes have been used since the ancient Greeks and Romans. Greek theater was a sacred place and often sacrifices were made on the altar in the center of the stage before the show. A show would take place once a year on a day of celebration of the god worshiped in the temple. According to the Greek culture, the god would be present the whole day of the show and the performance was considered a sacred duty which was paid for by the wealthy. In order to act in the play, the actors had to be totally pure for they were channeling their character. Actors would use a staff and wear a wreath to convey this. The actors would wear red ornamental cloaks and stone masks that belonged to the treasure or the sanctuary, these were early props (Stricker, 1955) (Bieber, 1971)<ref> Stricker, B. (1955). The Origin of the Greek Theatre. The Journal of Egyptian Archaeology,41, 34-47. doi:10.2307/3855235</ref>. <ref>Bieber, M. (1971). The History of the Greek and Roman theater. Princeton: Princeton University Press. </ref> Not only did the actors have to be in a state of purity, only the clean and pure public could attend this performance. They too would wear decorative cloaks and wreaths to celebrate the sacred day. Costumes were very important to conveying the story due to the fact that it would reveal the gender and social status of the character. Costumes in the Roman theater overlapped quite a bit int that a cloak’s color denoted the status and sex or the character. They also wore masks. During the Elizabethan Era, clothing played a significant part to one's status in society. There were many laws dictating what a person could wear, so many plays had their actors wear clothes of the vernacular for the character. Therefore, the actors of queens and kings wore costumes that reflected that status and those of less important roles wore their own clothing. For plays that took place during the Roman and ancient Greek eras, actors wore togas over their normal clothes. Since costumes were very expensive, many companies reused old costumes (Costumes and Cosmetics, 2013, p. 1) . <ref> Costumes and Cosmetics. (2013) (1st ed.). London. Retrieved from https://www.shakespearesglobe.com/uploads/files/2014/01/costumes_cosmetics.pdf</ref><br />
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{{Infobox<br />
|title = Broadway Theater<br />
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|image = [[File:times-square-1457783_640.jpg|x450px|alt=Milestone Image]]<br />
|label1= BruceEmmerling. (2016). Broadway photograph. Licensed under Creative Commons Zero on Pixabay.com<br />
|data1= <ref> BruceEmmerling. (2016, June 15). Broadway [Photograph]. Retrieved from: https://pixabay.com/en/times-square-new-york-manhattan-1457783/ </ref><br />
}}<br />
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Today costumes are designed by costume designers, who work closely with the director to make the director’s vision come to fruition. They often need to do a lot of research into who the character is and what time period he or she comes from. This research creates an authenticity to the character. A character wearing a crop top and a pair of short shorts would not be taken for women of status in the Victorian Era. The costume creates the character and that costume is iconic. Who would Glinda from "Wicked" be without her extravagant happy dresses? The costumes are more than just the clothing the actors are wearing. They include the shoes and accessories that are paired with the outfit. Costumes are meant to be used as an extension of the actor, which means that if two characters are polar opposites, their outfits will be totally different. It adds to the depth of the character. The costume designer then creates sketches of their proposed idea to share with the director. These costumes are then either approved or sent back with critiques. After the costume designs are approved, there is a lot of work to be done (Nusim, 2017) (Landis, 2014). <ref> Nusim, R. (2017). Character by Design (1st ed.). ACADEMY OF MOTION PICTURE ARTS AND SCIENCES. Retrieved from https://www.oscars.org/sites/oscars/files/costumes_and_makeup_activites_guide.pdf </ref><ref> Landis, D. (2014). COSTUME DESIGN DEFINING CHARACTER (1st ed.). The Oscars. Retrieved from https://www.oscars.org/sites/oscars/files/teachersguide-costumedesign-2015.pdf</ref><br />
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===Fabrics===<br />
{{Infobox<br />
|title =Different Fabrics<br />
|bodystyle = width:25em<br />
|image = [[File:towel-1838210_640.jpg|x450px|alt=Milestone Image]]<br />
|label1=Engin_Akyurt . (2016). Fabrics photograph. Licensed under Creative Commons Zero on Pixabay.com<br />
|data1= <ref> Engin_Akyurt . (2016, June 15). Fabrics [Photograph]. Retrieved from: https://pixabay.com/en/towel-textile-fabric-cotton-color-1838210/ </ref><br />
}}<br />
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Costumes come in many different shapes, sizes, and fabrics. This is one of the first things a designer has to think about when designing a costume. The material can affect the character’s movement, the actor’s comfort, the time period, and so much more. Fabric choice comes with much consideration and it is very difficult to choose with so many different fabric choices. One of the first fabrics of choice is wool. It is a fabric known for its warmth and itchiness, which is made from a variety of sheep furs. Even though many find wool to be itchy, wool comes in a variety of different types and not all of them are itchy. The fabric is very spongy and an insulator, but the reason many like wool is its ability to absorb up to 30 percent of its weight in water and not feel wet. Along with its water holding ability, wool is also dirt, tear, and flame resistant. This fabric may be worn by a character who is a sheep farmer in Ireland. Another natural and widely used fabric is cotton. It is a light, cool, and soft material that is used often. Cotton comes from the cotton plant and is stronger wet than dry. It can withstand high temperatures and is more breathable than wool. Silk is another fabric used in theater. It is a natural fiber that is spun by silkworms and is considered a fabric of wealth and success. Silk absorbs moisture in the summer and is warm in the winter, which makes it perfect to wear on stage. Due to its ability to retain moisture, silk is easily dyed and shapes well to a person’s body. Linen, not to be confused with cotton, is another widely used fabric. It is produced from the fiber of the flax stalk and is two to three times stronger than cotton. Linen has a unique luster that comes from its inherent nature and is easily dyed. Other fabrics that are synthetic and likewise also cheaper include polyester, rayon, acetate, and nylon. They have many of the same characteristics of natural fabrics, but they are less natural and prone to wrinkle, stain, and shrinkage (Caver, 2012, p. 306- 309).<ref>Carver, Rita Kogler. Stagecraft Fundamentals Second Edition: A Guide And Reference For Theatrical Production. 2nd ed. Burlington, MA and Jordan Hill, Oxford, UK: Focal Press, 2012. Print. </ref><br />
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===Tools, Accessories, and Sewing === <br />
Once the fabric of the costume is chosen, the fabric(s) has to be put together by sewing or other methods. In order for the fabric to be transformed into a costume, the seamstress must be familiar with the tools necessary to create a costume. Tools such as measuring tapes and patterns assist the costume designers to accurately take the measurements of the actor or actress. Once the measurements for the garment are determined, the designer will start working with either a pre-existing pattern or creating a pattern from scratch. A pattern is a template on which a garment can be cut from to form the specific shape desired. They are often made of paper and traced onto the fabric. To create new patterns, patterns may be combined or a sloper tool can be used. Sloper tools provide generic shapes that can be modified to form a new pattern. After a pattern is created, it is pinned to the fabric and then cut by sewing scissors. These scissors can cut fabrics fast with their adjustability and are therefore more expensive than arts and craft scissors. The next step of the process is sewing the pieces together, which can be done with different types of thread that have as great a range as fabrics do. The chosen thread needs to have similar properties to the fabric. To make the costumes unique and complete, accessories such as belts, buttons, and zippers are added. They can change a one-dimensional costume into one fit for a king or queen, but these accessories must be kept organized in order for them to be found in a timely fashion. Some other important tools are seam rippers, which can cut a seam when a stitch needs to be undone without damaging the fabric, and tailor’s chalk, which is used make marks on fabric. (Caver, 2012, p. 309- 317). Finally, after all of these steps have been completed, the fabric can be sewn together to create the costume. Most costumes are sewn by sewing machines, with intricate details sewn by hand. Some of the stitches sewn are quite easy, however many are difficult and require much skill. One commonly used stitch is the overlocking stitch. It is used to combine two edges of the fabric to create a hem on the inside that appears seamless when flipped inside out. The overlocking stitch is considered to be very versatile with it being used for everything from decoration to reinforcement to the construction of a fabric. Once the costumes are completely sewn they are then fit to the actor or actress to ensure a total fit. Interestingly, more complex costumes are initially made of muslin, a very inexpensive fabric, and are fitted to the actor so that the exact measurements can be used during the construction of the real costume. The creation of a costume is a multifaceted process that takes a design from paper to real life. It is difficult, but costumes are essential to a show for they aid the viewer in imagining and fitting the actors or actresses into the roles they play (Caver, 2012, p. 323- 334) <ref> Carver, Rita Kogler. Stagecraft Fundamentals Second Edition: A Guide And Reference For Theatrical Production. 2nd ed. Burlington, MA and Jordan Hill, Oxford, UK: Focal Press, 2012. Print.</ref>.<br />
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===Types=== <br />
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Costumes have come a long way from dresses, togas, and suits. As culture has invited new and exciting shows to the theater, costumes have had to change with the culture. Today’s theater productions have definitely proven to be a challenge for costume designers. There is now a myriad of shows of different time periods, themes, and ethnicities, which can be seen by the 2017 Tony nominees and shows that are currently popular. A prime example would be the Tony-winning "Natasha, Pierre & The Great Comet of 1812", which is an excerpt from Leo Tolstoy’s "War and Peace" about the affair of Natasha with Anatole and Pierre’s existential search for meaning <ref> S. (n.d.). The Great Comet - Official Broadway Site. Retrieved June 13, 2017, from http://greatcometbroadway.com/</ref>. Natasha is a charismatic young Russian woman of status engaged to marry her beloved fiancé Andrey, but while he is away at war she is sent to live with a godmother where she is seduced by an unknowingly married man. Natasha’s costume is white for innocence and is fitting of women of status in Russian during the early 1900’s. All of the costumes are a mixture of timepieces with modern clothing. This can add the idea that "War and Peace" is not just a very long novel with little to do with society today. Natasha’s story is a timeless tale of love, lies, and scandal, so the costumes must accent the characteristics of the characters and make them believable. Another Tony Award-winning show that has a completely different costume design is "The Lion King". "The Lion King" is a very different show about finding one's identity and is loosely based on Hamlet. This is a very difficult show to design for because the characters are animals. It is very hard to mimic the movement of an animal, so the designers worked to make costumes move with the movement of the actors and dancers. They utilized both masks and puppetry to create the movement of many of the animals. Timon and Pumbaa are life-size puppets that are connected to the actors. These shows show the great range of costumes that exist today in theater and the different styles and techniques used. <br />
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===Current Practices===<br />
Tours of the [[National Theater]], [[Royal Opera House]], and Royal Shakespeare Company gave insight into how costumes are currently dealt with. The trend is that the costumes department is divided into sub-departments. These subdepartments take care of creating the costumes, caring for the costumes during their show's run and managing them after the show has finished. During a production, the costumes must be cleaned after performances to keep them in good condition for the actors. This is especially important when a costume is dirtied during the performance. If the character gets a blood stain during the show, it cannot be there at the start of the next performance. In addition, any damage such as a tear in a costume must be repaired. After a show, the costumes are typically labeled with the name of the show they were from, the actor who wore it and the character they played. These costumes are organized and stored in the theater company's costume shop. The costumes can be rented by theater companies, film companies such as the BBC and sometimes the public for use. This enables more money to be earned back from the costs of the show. The Royal Shakespeare Company occasionally has auctions that are open to the public where the costumes are sold off for under £75.<br />
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== Hair and Makeup==<br />
===History and Design ===<br />
Makeup was not used in Greek and Roman theater due to the fact that the masks that they wore were designed to portray the emotions and character traits the characters had. (ref) It was not until the time of Queen Elizabeth that makeup was frequently used. The makeup of the actors was very important due to the fact that not only did it create the character, it also disguised their identity as a man. The actors were painted with white face makeup that sometimes consisted of a mixture of vinegar and white lead, “ceruse”, which was highly poisonous. The white was important because it represented the faces of the rich and royal due to the fact that they did not have to go outside to work. The standard for beauty was a pale white complexion, bright red cheeks and lips, kohl lined eyes, and a blond wig. This would usually be put on a young boy when he was transformed into the character of a beautiful young woman. To make characters shimmer, like characters in Shakespeare’s “A Midsummer Night’s Dream”, crushed pearls and silver would be applied to their makeup (Costumes and Cosmetics, 2013, p. 2) <ref> Costumes and Cosmetics. (2017) (1st ed.). London. Retrieved from https://www.shakespearesglobe.com/uploads/files/2014/01/costumes_cosmetics.pdf </ref>. Modern stage makeup did not really appear until the 1920’s and 1930’s and was started by Max Factor. Max Factor was the person who coined the term makeup and his son was credited with many innovations in makeup. They started the lip gloss, cake makeup, pan-stick makeup, the original cover-up makeup, and the first waterproof makeup (Carver, 2012, p. 339) <ref> Carver, Rita Kogler. Stagecraft Fundamentals Second Edition: A Guide And Reference For Theatrical Production. 2nd ed. Burlington, MA and Jordan Hill, Oxford, UK: Focal Press, 2012. Print. </ref>. Today stage makeup is created by many companies and comes in a variety of different shapes and sizes. They are used in a myriad of different techniques to achieve looks that portray different time periods, people and in some cases animals. The makeup signifies the character’s health, age, and liveliness and also adds to his or her illusion. Together the costume designer and hair and makeup designer work together to flush out and create a cohesive look for the character they are creating. With enough makeup, one can create themselves into a person they are not. An actor can be given an older, younger, sicker, healthier, prettier, plainer, or clearer look. People tend to go heavier on makeup when doing stage makeup than everyday makeup due to the fact that stage lights wash out a normal skin color making it much lighter (almost sheet white). This makes it hard for viewers at a distance to see the fine details of the makeup. To have an effective makeup design, the makeup must project the character to the audience (Gillette, 1999, p. 432-434) <ref> Gillette, J. M. (1999). Theatrical design and production: an introduction to scene design and construction, lighting, sound, costume, and makeup. New York, NY: McGraw-Hill. </ref> <br><br />
When designing makeup, one must keep in mind that they are changing the actor into the character. They have to do a great deal of research to get the character right because it is easy to spot what character is out of place. It was said by Richard Corson that the “makeup suggests genetics, environment, health, disfigurements, fashion, age and personality” (Gillette, 1999, p. 432) of the character. Therefore, it is important to accurately represent the character through their makeup. Makeup can also indicate if a person has been exposed to the elements based on the skin’s color and texture. One can also see if the character has deformities, both accidentally and genetically, which add to the personality of the character quite a bit. A rule of thumb for eccentric makeup is that if the character is eccentric then make it eccentric, if not then stick to the time period. When creating characters of different ages, younger skin tends to have better color with a firmer feel and older skin has a looser feel with less color and more wrinkles. The personality of a character is also portrayed in the makeup with a happier person having smile lines and a grumpier person having a perpetual frown. These are all good things to keep in mind when doing the makeup design and aid in achieving the look that is trying to be accomplished (Gillette, 1999, p. 432-434). <br><br><br />
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===Facial shapes===<br />
Facial shapes have great importance when doing makeup due to the fact that faces are always balanced. Therefore, the makeup must be balanced with the face as well. Faces come in in six different classes of shapes, which are pear, oval, heart, long, round, and square. Depending on one’s facial shape, makeup should be applied differently to highlight its features. Oval faces are considered to be perfectly symmetrical due to the fact that it is wide at the cheekbones and slopes down to a more pointed chin. The heart shaped face is much more different due to the fact that the top of the face is more rounded and then it has a more pointed or triangle shaped chin. It is also known as a triangle face shape. A pear-shaped face is much like a pear. It has a smaller forehead with a gradually larger face down to a wide chin. The square facial shape is the most common face shape. It has more of an oblong shape until the chin, where it’s more like a tilted right angle. A round face shape is very similar to an upside down pear shape face, but the chin is more rounded. The last face shape is the long face shape which is like an elongated oval face shape with higher cheekbones. The face shapes of the actors are necessary for a makeup designer to know when designing a character's makeup as it determines what parts of the face gets highlighted or shadowed. It‘s also important to know other faces when changing a person’s face shape to fit a character (Carver, 2012, p. 340). <ref> Carver, Rita Kogler. Stagecraft Fundamentals Second Edition: A Guide And Reference For Theatrical Production. 2nd ed. Burlington, MA and Jordan Hill, Oxford, UK: Focal Press, 2012. Print. </ref>. <br> [[File: face.JPG|x250px|center|frameless|thumb| |caption = Various Face Shapes (Carver, 2012, p.340 FIG.13.1)]] Various Face Shapes (Carver, 2012, p.340 FIG.13.1) <br><br><br />
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===Tools=== <br />
Makeup tools are very important to creating a character’s look due to the fact that they are what is used to transform the actor's face into the character's face. Makeup artists utilize brushes of different sizes, shapes, thicknesses, and styles. They all have a purpose and a designer will have many. Flat brushes are very good for blending colors together due to the fact it gives you a great amount of control when adding and removing pigment. An angle brush is really important for doing eye shadows and precise lines near or around the eye. Dome brushes are really good for blending and applying concealer under a person’s eyes whereas round brushes are good for eyeshadow and brows. There are detail brushes and powder brushes which add small details and blend well. Foundation brushes are used to apply and smooth foundation, which covers the majority of the face. The last brush to be covered is the contour brush. This brush is used to highlight and shadow the face so the person looks like they have higher cheek bones. It is also used to reconstruct the face to the right face shape. It is apparent that there are many brushes with different purposes and different artists have different uses for any given brush. They are all correct though! People have different uses for different brushes. Brushes are not the only tool that makeup artists use. Artists use spatulas to apply scar wax and thicker products, which is mixed with a plastic palette. A powder puff is usually used to apply powder or blot. Different types of sponges are used to blend and apply crème makeup. As a rule of thumb, the more porous the sponge the more texture is going to be applied to the skin. These are just some of the tools makeup artists use and there is much more to explore. (Carver, 2012, p. 341- 343) <ref> Carver, Rita Kogler. Stagecraft Fundamentals Second Edition: A Guide And Reference For Theatrical Production. 2nd ed. Burlington, MA and Jordan Hill, Oxford, UK: Focal Press, 2012. Print. </ref>. <br><br><br />
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=== Types of Makeup===<br />
====Cake Makeup==== <br />
This is the most commonly used type of makeup and it comes in both dry and moist compacts of pigment. They come in a variety of colors and shades matching every skin color. Cake makeup additionally comes in a variety of highlights and shadows to contour the actor’s face. To apply this makeup, artists moisten a makeup sponge or brush and then wipe it across the cake. It is then applied to the face. However, if the sponge is not wet enough the makeup won’t apply. If the sponge is too wet, the makeup will be too opaque. An actor should have a clean face when this is being applied. Usually, the highlights and shadow are applied over the foundation, but to get a more muted effect it can be placed under the foundation. Cake makeup does not need setting powder to prevent the makeup from smudging and sweating off (Gillette, 1999, p. 436-437). <br><br />
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==== Crème Makeup====<br />
Crème makeup is a non-greasy makeup that is often applied with a sponge, brush, or fingers. Unlike cake makeup, crème makeup does not require a damp tool. It can be used with cake makeup, but it does require setting powder. For easier usage, this makeup comes in sticks and crayons (Gillette, 1999, p. 437-438).<br><br />
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==== Liquid Makeup ====<br />
This makeup is not usually used for the face, but for the body. The use of a name brand theater makeup is not necessary because store bought types work just as well. One drawback of this makeup is that it dries more quickly than other makeups, which makes it difficult to blend when more than one color is used (Gillette, 1999, p. 439). <br><br />
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==== Dry Makeup ==== <br />
Dry makeup is classified as makeup that is dry when applied. This makeup is not usually used as a standalone makeup. It is usually used in conjunction with greasepaint and cake makeup. A common dry makeup is face powder, which is used to set a face. Though, if in a pinch, it can be used as a quick foundation. Any excess is dusted off with a fluffy brush (Gillette, 1999, p. 439). <br><br />
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==== Greasepaint ====<br />
Greasepaint was the first form of makeup before good quality crème and cake makeups were created. It was originally the most commonly used face makeup. It is quite translucent and available in a multitude of colors. It is applied with the fingertips and stippled to create a multidimensional layered effect, however, each layer needs to be set with setting powder. It clogs the pores and makes the person sweat even more than normal when under the bright lights of a stage (Gillette, 1999, p. 439). <br />
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<gallery mode="packed"><br />
Image:makeup-brush-1746322_640.jpg|''Brushes'' <br> Kinkate. (2016). Makeup Brushes photograph. Licensed under Creative Commons Zero on Pixabay.com<br />
Image:creme.JPG|'' Ben Nye crème foundations (Carver, 2012, p.340 FIG.13.9)''<br />
Image:cosmetics-259181_640.jpg|''Highlighter and Brushes'' <br> Stux. (2014). Makeup photograph. Licensed under Creative Commons Zero on Pixabay.com<br />
</gallery> <br />
<ref> Kinkate. (2016, October 12). Makeup Brushes [Photograph]. Retrieved from: https://pixabay.com/en/makeup-brush-brush-cosmetics-makeup-1746322/ </ref. <ref> Stux. (2014, February 5). Makeup [Photograph].Retrieved from: https://pixabay.com/en/cosmetics-makeup-make-up-brush-259181/ </ref><br />
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===Application technique===<br />
==== Highlights and shadowing====<br />
To create a multidimensional look, makeup artists take advantage of shadowing and highlights. They are used to make a person look older, younger, sicker, or healthier. Contrasting colors, such as brown and bright ivory, are used to draw attention to one part of the face while reducing attention on another part. One can create harsh angles by making harsh lines and smooth harsh lines by blending lighter colors (Gillette, 1999, p. 440-441). <br><br />
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==== Stippling ====<br />
Stippling is the act of dabbing or patting makeup rather than stroking it on the face. It is often done using a brush or sponge and it roughens the texture of the skin. The appearance of larger pores are produced by a larger pored sponge and can also be used to create the look of acne. To create a more natural look two or more colors are stippled together. If a shadow or highlight is too heavy it can be stippled with a base to create a natural look (Gillette, 1999, p. 442). <br />
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|title = Power of Makeup<br />
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|image = [[File:nvo.JPG|x450px|alt=Milestone Image]]<br />
|label1= Thanks to<br />
|data1= [[User:Nbloniarz|Natalie Bloniarz]]<br />
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===Special Makeup ===<br />
Sometimes an actor does not have the same exact features of the character they are playing. When this is the case, products such as nose putty, derma wax, latex, and prosthetics are used to modify the actor's features and achieve the character's appearance. Not everyone has a crooked nose or a facial scar so makeup artists must get creative when a character does have an irregular feature. Nose putty is used to give a different shape to the actor’s nose, chin, or other inflexible facial feature. The putty is shaped onto the face of the actor and is glued onto the skin with spirit gum to create more security. It is then painted with makeup to match the skin tone and stippled to give texture. Derma wax is similar to nose putty but is does not adhere as well so spirit gum is absolutely necessary for adhesion to the face. It is more easily molded and adding cotton adds to its structure. It is painted similarly to nose putty. Latex is one of the more used special effects because it can be used to make bald caps, eyebrow masks, and wrinkles. However, the drawbacks of latex include that it is difficult to remove and, if applied to hair, the hair must be shaved off and people can be allergic to latex. Latex does create a nice smooth layer that can be built up with makeup though. When creating these parts are too much, prosthetic noses, chins, and others pre-made features can be purchased. They are sometimes needed to complete the look (Gillette, 1999, p. 443-50). <br><br><br />
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===Hair=== <br />
Hair styling finishes off a character's appearance. Often use wigs are used to achieve the character's hair, but sometimes the actor’s actual hair is styled too. The hair style must match the style and length of the time period to create a believable and authentic character. The hair can be dyed, curled or braided to match the time period. If the character is a flapper from the 1920’s then she would have a bobbed hairstyle and a man of the same time would have a slicked back middle part. It takes a lot of research and time to create the perfect look for the character’s hair. <br><br><br />
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==Poster & Promotion==<br />
Theater advertising is an often neglected area of study but critical to putting on a show. After all, there is no show without an audience to see it. The promotional methods were influenced by the technology of the time. During the Middle Ages, the most effective advertising was word of mouth. The performers and town criers would announce performances to the town. Additionally, the sound of drums and trumpets were used to indicate a performance. Descriptions of the show were also written out, given to people and attached to posts in the town. This led to the name poster. At the time of early theater in London, printers started to be given licenses to print playbills or posters for shows. These were handed out to people. In addition, there would be a drum procession through town and a flag raised at the theater to indicate a show. Just before a performance, a trumpet would sound three times. As printing technologies improved over time, so did the posters. Actors also started to expect their names to appear on these posters. Circuses led a new development for these posters. They introduced using illustrations as it was a natural way to promote with all the animals present. Introducing images to posters created new appeal and draw for those who were illiterate. The next advancement was the introduction of color to the illustrations. The posters became an art form. They started creating larger advertisements created by printing the design across many pages and posting them all up together in the proper configuration, like a puzzle. Posters grew so important that stock posters were developed for popular shows. The quality of the posters improved as the technology did but experienced little improvement during the World Wars. The Pop Art movement brought life back to the posters. Advertisers started bringing in television stars to create more draw. Posters would feature iconic images that could also be used for marketing. While posters are not as important as they once were, they are still a key part of advertising for performances. <ref>Theatre posters. Retrieved from http://www.vam.ac.uk/content/articles/t/theatre-posters/</ref> Walking around London, posters for the current shows are hung everywhere. They line the underground stations. The West End also serves as its own advertising. Walking through the area, the buildings are plastered with billboards and posters displaying what is showing. There is also a free guide that is distributed called the Official London Theatre Guide which began in 1922. It contains information on all of the upcoming shows as well as theater and tourist information. E-marketing is also important. Online advertisements can create a draw. Subscribers may receive notification emails about shows and offers as well as an e-newsletter. After all this time though, word of mouth still remains powerful. The hype created for shows such as "Wicked", "The Lion King", and especially "Hamilton" right now, draw in audiences and create high demand for shows.<br />
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=Section 2: Our interpretation of The Play that Goes Wrong =<br />
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''The Play that Goes Wrong'' is a hilarious play that follows a production group attempting to put on a play called ''Murder at Haversham Manor'', a 1920's murder mystery. However, Cornley Polytechnic Drama, the group putting on the murder mystery, has had a difficult time with prior shows, so the expectations are set pretty low for the play they are producing now. Due to the fact that this a play inside of a play the stage tech are seen scrambling to fix things and become part of the actors. The stage tech also interacts with the audience the whole time giving the feeling that you are watching the ''Murder at Haversham Manor'' and all of the mess ups that an unprofessional and accident prone theater may face. For our deliverable, we explored the scenic, lighting, sound, costume, makeup, and promotional aspects that went into the performance we saw on "The Play That Goes Wrong" and created our own interpretations of how to put on the show in regards to each department. These interpretations are largely based on what we saw at the performance, what worked and what we felt could be improved as well as the research we did in our background.<br />
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==Scenic==<br />
[[File:Stage Right- sm- JR.JPG|thumb|right|x500px]]<br />
Designing the set for "The Play That Goes Wrong" is a unique process because it is a play within a play. As the designer for "A Play That Goes Wrong" the overall set design must be considered. However, the show is a performance of an amateur theater company attempting to perform a show. Therefore, to establish the set on the visual level, the designer must act as the designer for that company. The set must be designed to look like it was designed for the murder mystery show. Furthermore, it must reflect the styles and resources of the amateur theater group. Therefore, the set would appear to be low budget and not a refined, high quality. For this part of the design, I am basing the set on the board game Clue as it is a classic example of a murder mystery that many people can recognize. Once the basic visual design of the set is established based on the murder mystery play, design considerations for "The Play That Goes Wrong" must be looked at. This includes all of the special effects that are used to make it look like the murder mystery play is going terribly wrong. The most important tool we will be using is electromagnets. Throughout the show, the set literally falls apart. Wall hangings fall down, the second story floor collapses and the walls themselves fall down. We plan to achieve these effects through the use of electromagnets that can be turned on and off. When, for example, a wall decoration should be hanging, the magnet will be turned on. When it is time for the decoration to fall, the magnet can simply be turned off. This enables simple, on-demand control of the set failures. From a booth, the magnets can be switched on and off and perhaps even integrated into the cue system. When the second story floor collapses, the fall is controlled by mechanics behind the set. The platform is supported by cantilevered beams. Backstage, these beams are held up in a system that lets them pivot and lock into place in several positions. The beams begin the show horizontal. When the floor first fails, the position can be released, and drop in a controlled manner through the use of a motor, into the next position it can lock into. This can be repeated as the platform continues to fall. In addition, the show makes use of a bit of pyrotechnics when the garbage bin catches fire. This would be the responsibility of specialists as fire is a safety hazard.<br><br />
Actually designing the set in Solidworks proved to be a good lesson in the difficulties of set design. In the model, it becomes very apparent how tricky it is to make sure every seat has a good view of the set. The proscenium arch itself quickly blocks out the view of the audience as they start to move off to either side. This requires the set to be further forward on the stage to improve visibility. Secondly, designing the side walls of the room quickly turned into an issue. In order to improve visibility, I turned the left wall out towards the audience. Instead of a 90 degree with the back wall, it is at an 118-degree angle. However, I realized the same could not be done with the other wall. This is because the floor of the second level has to be able to swing down but, if it is made with an angle greater than 90 degrees, it will not have clearance on the side. In addition, the same problem of visibility would occur that I sought to eliminate on the other side. That is also ignoring the fact that having one side turned out but not the other would create a very oddly shaped room. It is at this point that I revisited the original set. My set had already been based on it a bit, as the story line and set were closely related meaning that the set couldn't be changed too much and still have the lines and action work. The set pieces had to be able to fail certain ways in order to fit with the story. When I looked at the set again I realized how the designer played with perspective. The back wall was actually split into sections that enabled them to bend it so each side wall could be angled out without the back wall seeming warped. Therefore, set design is not nearly as simple as creating an image in your head of the scene and putting it on the stage. In the rendering of my simplified set, some of my ideas for modification to the original set can be seen. First of all, while the rendering does not contain all the details, the concept is still for the set to be less elegant than the original set. This fits with the theme that the theater company within the show is low budget and amateur. Secondly, the furniture and color scheme were inspired by the board game Clue. In particular, the couch was designed after couches seen on the board game in the lounge and study. The wall color was also based on the game and the light color is meant to keep the area appearing open and large as light colors make spaces seem larger.<br />
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<br />
==Props==<br />
The props are very important to the show due to the fact that they add to the humor of the play within the play. The play itself is called ''The Play That Goes Wrong'' and that's what is shown to the audience. The missteps and malfunctions of the Cornley Polytechnic Drama group that go horribly wayward are captured. Below are some of the important props that make the show a comedic success. <br />
{{Infobox<br />
|title = collie<br />
|bodystyle = width:25em<br />
|image = [[File:dog-2286773_1280.png|x450px|alt=Milestone Image]]<br />
|label1= Blindphoto. (2017). Collie photograph. Licensed under Creative Commons Zero on Pixabay.com<br />
|data1= <ref> Blindphoto. (2017, Jan 15). Collie [Photograph]. Retrieved from: https://pixabay.com/en/dog-nose-snout-head-animal-close-2286773/ </ref><br />
<br />
}}<br />
=== Picture of the Collie ===<br />
It may seem like an odd prop, but this picture is very important to some of the humor of the play. During the show, characters are interviewed by Inspector Carter to determine who killed Charles Haversham. When Cecil Haversham, the brother of the late Charles Haversham, is interviewed by Inspector Carter, the inspector looks at the picture above the broken mantel and asks if the picture of the dog is a portrait of the father. It is obvious that the wrong picture was put up during the set decoration and it shows how the production company producing the show is not at all organized. The conversation progresses and the detective asks if the recently departed Charles was the spitting image of his father, again depicted by the picture of the dog. I choose a picture of a silly looking dog to add to the funniness of the situation and allow the audience to try to picture the actor as a dopey looking dog. If I could get a picture made, I would have the dog holding a whiskey glass and playing cards. The prop has a magnet on it which keeps it attached to the wall and when the door gets shut at the end of the act all of the stuff hanging on the walls falls off by the disengagement of the magnets. This adds to the dysfunction of the show and makes everyone laugh. <br />
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{{Infobox<br />
|title = "white spirit"<br />
|bodystyle = width:12em<br />
|image = [[File:glass-565914_640.jpg|x450px|alt=Milestone Image]]<br />
|label1= Yummymoon. (2014). Bottle photograph. Licensed under Creative Commons Zero on Pixabay.com<br />
|data1= <ref> Yummymoon. (2014, December 16). Bottle [Photograph]. Retrieved from: https://pixabay.com/en/glass-a-bottle-of-simplicity-studio-565914/ </ref>royalty free image<br />
}}<br />
=== White Spirit and Whiskey bottles ===<br />
Fake alcohol is often used in theater to liven the mood and add to the plot. As said earlier, props can be something that is edible or drinkable on stage, so the “liquor” does count under the umbrella term of props. During the show, after Charles Haversham’s death, the characters decide to grab some of Charles’s whiskey to calm down. The lines say that the first bottle grabbed is empty but the actor grabs the full bottle so he pours it out. Then when the character grabs the bottle that is supposed to be full it is the empty bottle previously looked for. It is obvious that when the two bottles were placed they were switched or the actor got the bottles from the wrong places. Either way, the scene shows the cast and the production company’s incompetence. The murder mystery inside of the show is just so bad it’s funny. The next problem is that there is no liquor for the cast to drink during the following scene. Instead, the stage manager hands out a few glasses with a bottle of unknown “white spirit” that looks like some cleaning detergent. When the actors are forced to take a drink they all spit it out because of it, of course, tastes terrible. For these props, I will have two generic whiskey bottles, one full of a brownish liquid and one empty. For the “white spirit” handed to the actors as an alternative, I will have a glass bottle with a do not drink sign on it to make sure that the audience understands the mistake and why the actors are spitting the liquid out. <br><br />
{{Infobox<br />
|title = vintage couch<br />
|bodystyle = width:12em<br />
|image = [[File:couch-1952918_640.png|x450px|alt=Milestone Image]]<br />
|label1= ArtsyBee. (2017). Vintage Couch photograph. Licensed under Creative Commons Zero on Pixabay.com<br />
|data1= <ref> ArtsyBee. (2017, February 22). Vintage Couch [Photograph]. Retrieved from: https://pixabay.com/en/couch-sofa-vintage-furniture-sit-1952921/ </ref><br />
}}<br />
=== Couch ===<br />
The couch is another classic piece of furniture used on the stage. The show takes place during an engagement party on a cold December night during the 1920’s. Therefore, the couch is in the style of that time period. The couch is at the center of the stage and it the center of the drama due to the fact that is where Charles Haversham’s body is found. There is nothing really special about the couch other than having collapsing legs. For the set, I would have a couch that looks like it’s from that time period and has it placed in the center of the stage to attract attention to it. <br />
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{{Infobox<br />
|title = stretcher<br />
|bodystyle = width:25em<br />
|image = [[File:vintage-1636373_640.jpg|x450px|alt=Milestone Image]]<br />
|label1= Prawny. (2016). Stretcher photograph. Licensed under Creative Commons Zero on Pixabay.com<br />
|data1= <ref> Prawny. (2016, September 22). Stretcher [Photograph]. Retrieved from: https://pixabay.com/en/vintage-old-old-fashioned-antique-1636373/ </ref><br />
}}<br />
=== Stretcher ===<br />
A stretcher is another weird prop to find on stage, but props are meant to have attention drawn to them. During the show, the stretcher is used to lift away the dead body, but this stretcher is from the 1920’s. It is basically two long horizontal poles with canvas that is sewn with holes to put the poles through. The funny part of the show is that, when the actors are trying to pick up the body, the two poles rip from the canvas leaving the body and the rest of the canvas under the body. The “dead” body Charles then grabs the poles with his arms and legs to be carried off the stage. It is really funny due to that fact that no matter what the actors do, nothing goes right. To create the stretcher, I would take two seven foot wooden poles and sew the canvas to fit around the poles with enough room to cradle a body inside. I would then have the base Velcroed so that it would imitate ripping when the body is lifted. <br />
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==Lighting==<br />
<br><br />
[[File:Lighting_The_Play_that_Goes_Wrong.jpg|500px|alt=Image ]]<br />
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The lighting design for ''The Play that Goes Wrong '' is used to add to the comic timing and the absurdity of the play. As previously stated, the show is performed by an amateur theater company who has had several attempts at performing shows such as "Cats" and "James and the Peach" with each show resulting in failure. They are determined to make this show called, ''Murder at Haversham Manor'' a success. The wash for this play remains constant throughout the entire play and there are some attempts to make the lightning fancier with spotlights and flashes of red for dramatic effect. The stage is a stage on a stage, which sounds confusing. The diagram above displays what the stage looks like with the lights and their position on the batons and side mounting infrastructure. The scene of the play does not change and takes place in a living room and study on a cold winter's night as well as behind the set.<br />
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Starting with the lights that are between the fake backstage and backstage, our plan is to use PAR 64 strip lights with ROSCO 81 Urban Blue with Diffuser. The Urban Blue color is a great color to imitate a very cold, brittle scene. There is a diffuser to dampen the coolness and imitate an amateur lighting designer's attempt at making the set cool. These lights will be shining straight downward creating the cool winter scene. For the wash, backwash and side wash, we will use the Source 4 PARNel WFL, the Source 4 PAR MFL and Chauvet LED PAR 64 fixtures. The WFL is to light the wide stage, but because they are to have a wide dispersion of light, the color will be lacking in color intensity. The MFL is also to light the stage; it will have a greater color intensity, but will only have a throw distance of the front of the stage. There will be ROSCO 02 Bastard Amber and ROSCO 4830 CC 30 Pink gels in the fixtures since these colors are excellent on every skin tone and create a happy, warm tone. We have several fixtures meant for spotlighting actors; the Q500NSP (PAR 56 NSP) and ETC 405 (5-degree Source Four). The ETC fixture is meant to spot someone centered on the stage and the QS500NSP is meant to spot someone who is on the left and right middle of the stage. These lights do not have gels because white light is sufficient to spotlight any character. The last two fixtures are the MAC TW1. These are dynamic fixtures meaning that they have a certain degree of rotation in the x and y-axis. They are able to track moving people and can display a CMY spectrum of colors. These will be used for the few scenes of attempted fancy lighting. The angles of the lights that are listed in the table below are only approximate; there is a high chance, that when the master electrician is hanging and focusing the lights, the angles will change.<br />
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There are only a few scenes with "fancy lighting", so the rest is leaving the wash up on the set. These scenes include the opening of the play and during a scene in the beginning where the dead body is found. However, an actor doesn't make his cue and the effect is repeated two or three times as the entire cast repeats that there has been a murder. In the opening of the play, there is a spotlight where the "director" of the play is supposed to stand in to present his play, but he is only half in the light because he did not step forward enough to be in the light. We plan to use the ETC 405 fixture to shine a spot on the stage and have it focused so that we miss the actor. Our plan for the actor who is supposed to be dead on a couch is to use one of the MAC TW1 to shine a spot on him while he is still getting into his place. Lastly, when the cast says "murder", we plan to use both of the MAC TW1s to flash red on the group of actors on the center of the stage. <br />
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===Lighting Details===<br />
{| class="wikitable" width="80%"<br />
! Name<br />
! Angle<br />
! Colour<br />
|-<br />
! scope="row"| Chauvet LED PAR 64<br />
| align="center"| 135<br />
| align="center"|ROSCO 02 Bastard Amber<br />
|-<br />
! scope="row"| Chauvet LED PAR 64<br />
| align="center"| 225<br />
| align="center"| ROSCO 02 Bastard Amber<br />
|-<br />
! scope="row"| Q500NSP (PAR 56 NSP)<br />
| align="center" |135<br />
| align="center" |No Need<br />
|-<br />
! scope="row"| Q500NSP (PAR 56 NSP)<br />
| align="center" |135<br />
| align="center" |No Need<br />
|-<br />
! scope="row"| ETC 405 (5 degree Source Four)<br />
| align="center" |0<br />
| align="center" |None<br />
|-<br />
! scope="row"| Par 64 Strip (WFL)<br />
| align="center" |0<br />
| align="center" |ROSCO 81 Urban Blue with Diffuser<br />
|-<br />
! scope="row"| Par 64 Strip (WFL)<br />
| align="center" |0<br />
| align="center" |ROSCO 81 Urban Blue with Diffuser<br />
|-<br />
! scope="row"| Par 64 Strip (WFL)<br />
| align="center" |0<br />
| align="center" |ROSCO 81 Urban Blue with Diffuser<br />
|-<br />
! scope="row"| Par 64 Strip (WFL)<br />
| align="center" |0<br />
| align="center" |ROSCO 81 Urban Blue with Diffuser<br />
|-<br />
! scope="row"| Par 64 Strip (WFL)<br />
| align="center" |0<br />
| align="center" |ROSCO 81 Urban Blue with Diffuser<br />
|-<br />
! scope="row"| Source Four PARNel WFL <br />
| align="center" |90<br />
| align="center" |ROSCO 02 Bastard Amber<br />
|-<br />
! scope="row"| Source Four PARNel WFL <br />
| align="center" |270<br />
| align="center" |ROSCO 02 Bastard Amber<br />
|-<br />
! scope="row"| Source Four PARNel WFL <br />
| align="center" |30<br />
| align="center" |ROSCO 02 Bastard Amber<br />
|-<br />
! scope="row"| Source Four PARNel WFL <br />
| align="center" |15<br />
| align="center" |ROSCO 02 Bastard Amber<br />
|-<br />
! scope="row"| Source Four PARNel WFL <br />
| align="center" |0<br />
| align="center" |ROSCO 02 Bastard Amber<br />
|-<br />
! scope="row"| Source Four PARNel WFL <br />
| align="center" |345<br />
| align="center" |ROSCO 02 Bastard Amber<br />
|-<br />
! scope="row"| Source Four PARNel WFL <br />
| align="center" |335<br />
| align="center" |ROSCO 02 Bastard Amber<br />
|-<br />
! scope="row"| Source Four PARNel MFL<br />
| align="center" |15<br />
| align="center" |ROSCO 4830 CC 30 Pink<br />
|-<br />
! scope="row"| Source Four PARNel MFL<br />
| align="center" |0<br />
| align="center" |ROSCO 4830 CC 30 Pink<br />
|-<br />
! scope="row"| Source Four PARNel MFL<br />
| align="center" |0<br />
| align="center" |ROSCO 4830 CC 30 Pink<br />
|-<br />
! scope="row"| Source Four PARNel MFL<br />
| align="center" |350<br />
| align="center" |ROSCO 4830 CC 30 Pink<br />
|-<br />
! scope="row"| Martin Mac TW1<br />
| align="center" |20<br />
| align="center" |No Need<br />
|-<br />
! scope="row"| Martin Mac TW1<br />
| align="center" |340<br />
| align="center" |No Need<br />
|-<br />
|} <br />
<ref>"Source Four ® 5 ̊ Ellipsoidal Series". Texas Scenic. N.p., 2017. Web. 14 June 2017.</ref><br />
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==Sound==<br />
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[[File:Sound_The_Play_that_Goes_Wrong.jpg|500px|alt=Image ]]<br />
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The sound design for ''The Play that Goes Wrong'' is not very complex and was purposefully done this way. The cast is made up of only 8 members who have only spoken parts. There is one cast member, who acts as the sound board operator and director, who seems to wear a Clear-Com looking headset that does end up projecting through the speakers. Characters will each have a microphone pack that will be projected out through 4 speakers that are hung on vertical struts. These speakers will have 90 degree dispersion, with 45 degrees of dispersion on each side of the axis. Two of the speakers will be located at the front orchestra section mounted at 45 degree angles from where they are mounted. This will project the sound to the first level of the theater. The other two smaller speakers will be mounted on the wall at the front of the second level and will be lined up against the wall. The diagram above shows the design. <br />
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In the show there are multiple sound effects that go off throughout the show. In the table below, the act, scene, name and file is presented. These are the sounds we would pick if we were to produce the show. We are using YouTube videos that were converted into MP3 files. The references section has the links to the videos.<br />
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{| class="wikitable" width="80%"<br />
! Act <br />
! Name<br />
! Listen<br />
|-<br />
! scope="row"| 1<br />
| align="center"| Creaking Door<br />
| align="center"| <mp3player>File:WoodDoor.mp3</mp3player><br />
<ref>Wood Door Creak Open Sound Effect. (2014). https://www.youtube.com/embed/U3Hqd6fw-i8. </ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Door Slam<br />
| align="center"|<mp3player>File:DoorSlam.mp3</mp3player><br />
<ref>Door Slam Sound Effect (Download Link). (2012). https://www.youtube.com/watch?v=fNNhE0Cz2QY.</ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Dramatic Music<br />
| align="center"|<mp3player>File:Suspense.mp3</mp3player><br />
<ref>Suspense Sound Effects. (2016). https://www.youtube.com/watch?v=ziobtd9JTtk.</ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Flame Lighting<br />
| align="center"| <mp3player>File:Fire.mp3</mp3player><br />
<ref>Fire sound effect (3). (2011). https://www.youtube.com/watch?v=Zmw32wCGWuc.</ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Body Hitting the Ground<br />
| align="center"| <mp3player>File:Bodyeffect.mp3</mp3player><br />
<ref>Body Fall SOUND EFFECT - Körper fällt zu Boden SOUNDS. (2015). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Telephone Ringing<br />
| align="center"| <mp3player>File:Old_phone_-_sound_effect.mp3</mp3player><br />
<ref>old phone - sound effect. (2012). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Drawing Sword<br />
| align="center"| <mp3player>File:Draw_sword_sound_effect_(2).mp3</mp3player><br />
<ref>Draw sword sound effect (2). (2012). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Sword Clashing<br />
| align="center"| <mp3player>File:Sword_clash_sound_effect_(1).mp3</mp3player><br />
<ref>Sword clash sound effect (1). (2012). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Gun Shot<br />
| align="center"| <mp3player>File:MLG_Gun_Shot_Sound_Effect.mp3</mp3player><br />
<ref>MLG Gun Shot Sound Effect. (2016). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Crash<br />
| align="center"| <mp3player>File:LOUD_CRASH_SOUND_EFFECT.mp3</mp3player><br />
<ref>LOUD CRASH SOUND EFFECT. (2015). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Dramatic Music Repeat<br />
| align="center"| <br />
|-<br />
! scope="row"| 1<br />
| align="center"| Dramatic Music Repeat<br />
| align="center"| <br />
|-<br />
! scope="row"| 1<br />
| align="center"| ''Girls on Film'' by Duran Duran<br />
| align="center"| <mp3player>File:Duran_Duran_-_Girls_On_Film.mp3</mp3player><br />
<ref>Duran Duran - Girls On Film. (2010). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 2<br />
| align="center"| Dramatic House Music<br />
| align="center"| <mp3player>File:Open.mp3</mp3player><br />
<ref>🎹 Trevor DeMaere - Opening Stargate (DramaticEpic Orchestral Music). (2012). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 2<br />
| align="center"| Paper Scattering<br />
| align="center"| <mp3player>File:Papers_Falling_SOUND_Effect.mp3</mp3player><br />
<ref>Papers Falling SOUND Effect. (2016). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 2<br />
| align="center"| Clock Chiming<br />
| align="center"| <mp3player>File:Clock_chimes_12_Sound_Effect_(SUPERB).mp3</mp3player><br />
<ref>clock chimes 12 Sound Effect (SUPERB). (2012). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 2<br />
| align="center"| Knocking on Wooden Door<br />
| align="center"| <mp3player>File:Loud_Knocking_on_Door_Sound_Effect.mp3</mp3player><br />
<ref>Loud Knocking on Door Sound Effect. (2014). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 2<br />
| align="center"| Telephone Ring Repeat<br />
| align="center"| <br />
|-<br />
! scope="row"| 2<br />
| align="center"| Doorbell Rings<br />
| align="center"| <mp3player>File:Door_Bell_Sound_Effect.mp3</mp3player><br />
<ref>Door Bell Sound Effect. (2015). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 2<br />
| align="center"| Vase Shattering<br />
| align="center"|<mp3player>File:Glass_Vase_Shattering_Sound_Effect.mp3</mp3player><br />
<ref>Glass Vase Shattering Sound Effect. (2014). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 2<br />
| align="center"| ''Rio'' by Duran Duran <br />
| align="center"| <mp3player>File:Duran_Duran_-_Rio.mp3</mp3player><br />
<ref>Duran Duran - Rio. (2009). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 2<br />
| align="center"| House Music<br />
| align="center"| <mp3player>File:Duran_Duran_-_The_Reflex.mp3</mp3player><br />
<ref>Duran Duran - The Reflex. (2009). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
|} <br />
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==Costumes and Hair and Makeup ==<br />
Costumes, hair and makeup are being based on 4 main characters in ''The Play That Goes Wrong''. The characters have hair, makeup, and costumes based on their attributes and the situations that they are in. <br />
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<br />
{{Infobox<br />
|title = Annie <br />
|bodystyle = width:12em<br />
|image = [[File:unat.png|x360px|alt=Milestone Image]]<br />
|label1= Thanks to<br />
|data1= [[User:Nbloniarz|Natalie Bloniarz]]<br />
}}<br />
=== Annie === <br />
Annie is the company's stage manager who makes sure that the actors go on stage at the right time and that the whole backstage is taken care of. She can often be found around the stage trying to keep the show from falling apart. During the beginning of the show she can be seen fixing the broken set and she seems to be pretty well versed in the nuances of the stage and how to fix the stage. Her first costume would be her wearing a nondescript worn t-shirt and a pair of also worn jeans or overalls with a tool belt. This will give her the jack of all trades look. She would have little to no makeup on so as not draw any attention to her. Her hair would pulled up into either a ponytail or pigtails. Her second look (seen in the picture to the right) would be for when she has to take over the role of Florence Colleymoore due to an accidental head injury to the actress. They throw her on stage in the ill-fitting red flapper dress of Ms. Colleymoore, a slightly askew flapper wig right over top of her own hair with the ponytail or pigtails sticking out, and a hasty makeup job. The makeup is absolutely terrible and totally rushed. To achieve this look I first applied a base skin tone foundation and then added some contour on the cheeks to give them more definition. I put a darker concealer under the eye to give the impression of dark circles, which is the opposite of what is typically desired. The eyebrows were filled unevenly and eccentrically to show the haste in the makeup. The lips are smudged and overdone along with blush that covers too much of the cheek. Overall the look should scream overdone, rushed, and terrible, as seen in this picture.<br />
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<br />
{{Infobox<br />
|title = Trevor <br />
|bodystyle = width:12em<br />
|image = [[File:mben.png|x360px|alt=Milestone Image]]<br />
|label1= Thanks to<br />
|data1= [[User: Bjsecino|Benjamin Secino]]<br />
}}<br />
=== Trevor ===<br />
<br />
Trevor is the company's lighting and sound operator who makes sure the lighting and sound cues go on during the right part of the script. He is a bit absent minded during the show and can be seen running around fixing things or missing his cues. During the show, he accidentally calls over his com to the audience his notes, which are noting the error on stage to the stage manager, so that the audience notices it even more. One can see him missing sound and lighting cues while he is looking at his phone. Trevor also loses his Duran Duran CD, which he plays as a sound cue by accident and the CD is found in the final scene instead of an important ticket. His demeanor shouts “I don’t care” and tiredness. For his costume, I would have him wear all black, which is the usual technical crew member's outfit. I would leave the actor's natural hair since it adds nothing to the show. His makeup would emphasize under eye bags and would be as natural as possible while highlighting all of the person’s facial flaws. I would have him either grow some stubble or draw it own. To achieve this look I would start with a base foundation of his skin color, stipple highlight, and contour in order to shape his face a little. To create the illusion of wrinkles I would take two different colors, dark and light, and have him wrinkle his forehead. In the crevasses, I would put the darker color and on the top put the lighter color. I would then use a makeup sponge to blend the colors to make the look more natural. To create the stubble on a clean shaven face I would start with a darker foundation around his jawline and then speckle black dots in that area. Then I would blend until I got the desired look. Trevor’s final look would be one of not caring and gross exhaustion. <br><br />
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{{Infobox<br />
|title = Inspector Carter <br />
|bodystyle = width:12em<br />
|image = [[File:oben.png|x360px|alt=Milestone Image]]<br />
|label1= Thanks to<br />
|data1= [[User: Bjsecino|Benjamin Secino]]<br />
}}<br />
=== Inspector Carter (Chris) ===<br />
<br />
Chris is the actor who plays Inspector Carter during the show. Inspector Carter is an esteemed detective called to investigate the death of the healthy, wealthy, and soon to be married Charles Haversham. This show takes place during the 1920’s, so I decided that he should have the look of a 1920’s gentleman. For his costume, I will be taking inspiration from Sherlock Holmes and the quintessential gentleman of the 1920’s. So I would have him wear a pair of trousers, black leather shoes, white shirt, tie, and a long trench coat. This will give him the look of authority during a play that is quite literally falling apart at the seams. Inspector Carter’s hair, if possible, would be slicked back and combed with a part to one side. For the makeup, I would start out with a skin tone foundation and then highlight and contour his face to give him higher cheek bones to make him more proper looking. This would be smudged and blended with a makeup sponge. I would put some dark concealer inside his smile lines to make him look older and wiser. He would also have a small mustache, which could be modeled from Gomez Addams’ mustache. It would be drawn on by hand and then smudged with a brush. He needs to look prim and proper to add contrast to the lack of professionalism during the show. <br />
<br><br />
{{Infobox<br />
|title = Florence Colleymoore <br />
|bodystyle = width:12em<br />
|image = [[File:bnat.png|x360px|alt=Milestone Image]]<br />
|label1= Thanks to<br />
|data1= [[User:Nbloniarz|Natalie Bloniarz]]<br />
}}<br />
=== Florence Colleymoore (Sandra)===<br />
Sandra is the leading lady of the ''Murder at Haversham Manor'' and plays Florence Colleymoore , the soon to be married fiancé of the late Charles Haversham. Her style is of a 1920’s flapper girl who is very seductive and suggestive. She would have a red dress with a modest neckline and that comes down to the mid-calf. It should look kind of cheap looking and be paired with a short kitten heel and skin tone tights. Underneath the dress, she should wear spandex shorts due to the fact she gets knocked out by a door during the middle of the first act and gets carried off through a stage window in the most ungraceful way. The spandex will ensure that the audience does not see more than they paid for. Her second outfit will be when she comes on stage in the spandex and a bra trying to take back the roll from Annie the stage manager. It will be clear that they stripped Sandra of her dress and wig to give to Annie. The makeup for Sandra would start with a skin tone foundation blended with concealer under the eyes. Next, I would stipple highlight and shadow into the face’s peaks and valleys to give the face a more multidimensional look. It should be blended so it does not look splotchy. The eyebrows should be drawn on at a medium darkness, accompanied by a pale eyeshadow. Eye makeup would be finished off with mascara and black eyeliner. I would lightly brush blush onto the apples of the cheeks and finish the whole look off with red lipstick. She will also be wearing a dark haired wig that has a blunt and short flapper hairstyle. Her appearance is important to the play due to the fact that she is one of the only female actors in the ''Murder at Haversham Manor''. She needs to stand out, but also look natural next to the rest of the cast.<br />
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==Poster & Promotion==<br />
[[Image:TPTGS Poster.jpg|thumb|right|x600px]]<br />
For promotion, I designed a poster that can be distributed through a variety of modes such as being hung up in the tube stations, hung around the West End, featured on online theater booking sites and social media. The design was meant to be simplistic and bold so it would catch people's attention and be easy to read quickly. I achieved this through high contrast colors and limiting the complexity of the poster. There are no small details or an abundance of colors to distract the eye from the message. The text is minimal, large, and easy to read. A small line of text can be added underneath the title to indicate the date without detracting from the title. That text would be white and in a basic font. The different elements of the poster are also based on themes of the show. To emphasize the theatrical aspects the font is similar to the one associated with Broadway, the page is framed by a theater marquee, and stage lighting casts a spotlight on the text. To emphasize the chaos of the show lights on the marquee are broken, half of the word "wrong" is falling down, one of the spotlights is broken and the other one is shining a bit too far right also casting more focus on the falling letters.<br />
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=Conclusion=<br />
<br><br />
A theater production is so much more than just the actors. Without the production team, there would be no show. The acting is only just the surface of what goes into a show. When putting on a show, all aspects of the production must be closely considered. The set must allow maximum visibility to the entire audience, be a functional space and contribute to setting the tone of the show. Lighting must highlight both the set and actors and establish tone. The sound system must give every audience member clear, audible sound. Costumes and makeup should give a visual representation of the characters while maintaining functionality for the actors. Finally, the promotional team must ensure that there is an audience to see the show. "The Play That Goes Wrong" simultaneously demonstrates what to do and what not to do. The fictional theater group in the show creates an unstable, unsafe set, misplaces props and misses an actor with their spotlight among other mistakes. However, the show as a whole features many aspects done right by the real-life theater company. The sound system, while simple, is effective and special effects are carried out in a safe manner. They manage to have the second floor of the set collapse in a safe manner. The set design, through subtly creating an angle in the rear wall, allows for good visibility of the entire set. <br><br />
Future research may compare other productions of "The Play That Goes Wrong". Long-term research includes how theater practices and technology evolve from where they are today.<br />
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=Attribution of Work=<br />
We all participated equally in the writing, research, and effort that was put into this large project. As a group, we went to see ''The Play that Goes Wrong'' and bought the play script to help mold the show into our own.<br />
<br><br />
==Katharine Conroy==<br />
In the background and deliverable, I wrote the sections on props, hair and makeup, and costumes. <br />
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==Lauren Conroy==<br />
I wrote the abstract, introduction, lighting background, sound background, and lighting deliverable.<br />
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==Justine Roy==<br />
I wrote the scenic background, promotions background, modern costuming practices, scenic deliverable, promotions deliverable, and conclusion.<br />
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=References=<br />
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<!--DO NOT COPY THE FEATURED CATEGORY CODE BELOW--><br />
[[Category:Featured Projects]]<br />
<!--ONLY LONDON HUA ADVISORS MAY USE THE FEATURED CATEGORY TAG ABOVE--></div>Kfconroyhttps://londonhuawiki.wpi.edu/index.php?title=Theater_Beyond_the_Actors&diff=19410Theater Beyond the Actors2017-06-22T15:54:07Z<p>Kfconroy: </p>
<hr />
<div>=Theater Beyond the Actors=<br />
by [[User:Lconroy|Lauren Conroy]]<br>[[User:Jaroy|Justine Roy]]<br>[[User:Kfconroy|Katharine Conroy]]<br><br />
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{{Infobox<br />
|title = Theater Beyond the Actors<br />
|bodystyle = width:25em<br />
|image = [[File:The Play That Goes Wrong- sm- JR.jpg|x450px|alt=Milestone Image]]<br />
|label1= The Play That Goes Wrong<br />
|data1= Duchess Theater <br />
}}<br />
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[[Category:Drama & Theater Projects]]<br />
[[Category: 2017]]<br />
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=Abstract=<br />
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This milestone looks at the elements that add to the success of a show, which includes scenic, props, lighting, sound, costumes, and poster & promotion. We explored what these elements were like in early theatrical performances in comparison to modern day performances. Some of our research came from attending several current plays in the West End as well as backstage tours of the [[National Theater]], [[The Globe Theater]], and the Royal Shakespeare Company. This information was implemented into our deliverable through our own technical design of the play, ''The Play That Goes Wrong'', which we attended on May 9th. <br />
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=Preface=<br />
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As a group, we had been very involved in theater at WPI. Two of our members were involved in a combination of acting, lighting, and scenic for the Showcase in D-Term. We had all taken various drama classes including, Theater Workshop and Introduction to Drama: Theatre on the Page and on the Stage and had been taught a lot about important dramas and what it takes to put on a show. We were excited to implement what we knew and what we would learn into our deliverable. <br />
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In order for any show to succeed, there must be a dedicated, creative, hardworking production team. This team has the capability of creating a show that can move the audience to laughter, tears or both. Every aspect of the production is important and the show would suffer if a portion was neglected. As a group, we discovered how much time and effort it takes to create a cohesive, successful play. Each department in the production team has to communicate with each other to assure that everything is consistent and does not clash with another department's design. Our main objective was to create a solid design for each department of the production team, specifically scenic, props, lighting, sound, costumes, and promotion. Based on our research, we were able to determine how to create our concepts using specific makeup, props, construction material and lighting fixtures. Our final designs embody all that we have learned through reading and watching "The Play that Goes Wrong" at the West End. <br />
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__TOC__<br />
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=Introduction=<br />
<br><br />
Theater is one of the oldest art forms that expresses thoughts and ideas through visual entertainment and performative elements. It stretches back to the time of the Romans and ancient Greeks with traditions continuing into modern day. Performances at theaters can leave audiences crying, laughing, beguiled and awe-inspired, but it takes teams of area specialized people to make sure these productions are successful. Technical groups such as scenic, props, lighting, sound, costumes, and poster & promotion aid in the creation of setting the perfect atmosphere for actors and actresses to deliver their lines and move audiences. These groups are the unsung heroes of what makes theater so spectacular.<br />
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The goal for this milestone is to create our own technical designs for ''The Play that Goes Wrong'' utilizing the information we learned from the background and by seeing the show. Each of us put our own spin on the scenic, props, lighting, sound, costumes, and promotion of the play. For each section, we have some type of physical diagram or photograph displaying what we would have done if we were put in charge of each technical department of the show. The results and a statement of why we chose to design our set, props, lighting, sound, costumes, or promotional item the way we did are placed in the deliverable section.<br />
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=Section 1: Background=<br />
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When people go to watch a show, they may think of the amazing acting and/or singing that is taking place. They ooh and aah at the magnificent story told by these actors and actresses, but little do they think of the unsung heroes behind the scenes who work tirelessly to make the characters look and perform the way they do on stage. There is much more to a show than just the actors. Behind the actors, there is a huge line of support crew contributing to every aspect of the show beyond the performers who, without them, the show would not be able to go on. These people belong to the groups of scenic, props, lighting, sound, costumes, and promotional aid. Below is an in-depth analysis of these technical groups that make shows come alive. <br />
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==Scenic==<br />
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The set is affected by a number of factors including theater style, the plot, the setting, the tone, the budget and the designer's imagination. <br />
===History & Techniques===<br />
Going all the way back to the ancient Greeks, their set was just a backdrop. It was designed to provide context for the show and give a place for the actors to hide offstage. In their later years, the backdrop developed to have doors for the actors to enter and exit. The Romans adopted the Greek style and not much changed for the Renaissance and Commedia Del'Arte eras. (Carver, 2009, p 4-11) Between the 16th and 19th centuries, set designs continued to develop. During this time, the wing and drop style came into being. Wings refer to the extension of the backdrop downstage on either side. These were also called legs. Above the stage, a border was added to round out the set. These changes had the added benefit of hiding the inner workings of the theater. Another popular style to emerge was the use of Periaktoi. Periaktoi were three-sided columns that would be arranged side by side. The backdrop would be divided into columns and put on one side of each Periaktoi. The Periaktoi could then be turned, sometimes with the use of a pulley system, to reveal a given backdrop. Flying effects also developed. A platform that was attached to a vertical track could be raised and lowered with pulleys. In an effort to disguise the system, a two-dimensional cloud would mask the platform. Trolley systems for moving set pieces also developed. The pieces would be attached to tracks under the stage that would be pulled along their path using ropes and a crank. This is also the time that the iconic trap door came into being. The door in the floor would open and actors could enter or exit via ladders or primitive elevator systems. The 18th century brought technology advances that enabled quicker transitions and a desire for more realism. This desire for a more realistic experience led to the box set. The box set typically is comprised of three walls, a ceiling, and a scenic ground row. Previous stages were made at an incline to aid in visibility and acoustics with the back of the stage at a higher elevation than the front. This was done away with in order to make the set appear more natural. The box set also led to the convention of the fourth wall. This division between the performance and the audience was furthered by masking the stage from the audience before the show with a curtain. While flying was phased out of style because it was unrealistic, casters (the wheels seen on shopping carts) became the primary means for moving scenery. The revolving stage also grew in popularity as it enabled quick scene changes. The set would be constructed on a platform, built as part of the stage, that could spin. The platform with the scenery would then spin to reveal new sets. (Carver, 2009, 194-196) All of this technology is the basis for current scenic design. While technology has advanced greatly since those time, many of the concepts are still used today. <ref>Carver, Rita Kogler. Stagecraft Fundamentals. 1st ed. Boston: Focal, 2009. Print.</ref><br />
<gallery mode="packed" heights=300p caption="Periaktoi"><br />
Image:Beach Periaktoi- sm- JR.JPG<br />
Image:Periaktoi Transition- sm- JR.JPG<br />
Image:Forrest Periaktoi- sm- JR.JPG<br />
</gallery><br />
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===Design Considerations===<br />
As I said previously, there are many factors that go into the set design. Clearly, there are many options available to scenic designers and they must choose those that best achieve their creative image within their constraints. Depending on the venue and the show, the budget can vary greatly. Broadway and West End shows have massive budgets that allow for costly effects. These shows can showcase expensive effects such as pyrotechnics and trap doors. On the other hand, the local theater will have a much smaller budget and will have to keep the set simpler or get quite creative with the resources they have. Another important factor is the style of theater. Most people are accustomed to the proscenium theater where all of the action takes place behind the proscenium arch. With a proscenium stage, the designer only needs to worry about the audience on one side of the stage and what can be seen at different angles to the stage. However, thrust stages that have the audience on three sides, arena stages with the audience on all sides and black box theaters that can have the audience theoretically anywhere require more careful consideration. It is easy to block the view for parts of the audience due to large scenic pieces. While a couch may be a useful place to sit, this could result in blocking the view for those situated behind or to the side of it if it is not carefully considered. Spectators' view should never be compromised unless for very good reason as every person is paying to see the show and should have a good experience. In addition, limited backstage space as a result of the style of the stage could limit set changes. (Carver, 2009, p 14-19) Naturally, the tone, setting, and plot of the show all contribute to the designer's vision for the set. The set must reflect the environment the show takes place in, be a functional space for the actors to work in and contribute to the feel of the show.<ref>Carver, Rita Kogler. Stagecraft Fundamentals. 1st ed. Boston: Focal, 2009. Print.</ref><br />
<gallery mode="packed" heights=150p><br />
Image:Proscenium- sm.jpg|Proscenium Stage<ref>By User:FA2010 (Own work) [Public domain], via Wikimedia Commons</ref><br />
Image:Thrust-sm.JPG|Thrust Stage<ref>By Wharton Center (Own work) [CC BY-SA 3.0 (http://creativecommons.org/licenses/by-sa/3.0)], via Wikimedia Commons</ref><br />
Image:Arena- sm.jpg|Arena<ref>By Savino Paolella [CC BY 2.0 (http://creativecommons.org/licenses/by/2.0)], via Wikimedia Commons</ref><br />
Image:Black Box.jpg|Black Box Theater<ref>See page for author [CC BY-SA 3.0 (http://creativecommons.org/licenses/by-sa/3.0)], via Wikimedia Commons</ref><br />
</gallery><br />
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===Design===<br />
While there is no mandatory process for set design, it typically includes many sketches and models of the design. This is important so the set designer can effectively communicate their vision for the set with the director and other departments to create a cohesive image. Early stages of design might be represented through sketches then renderings. As the design develops, a scale model of the set on the stage will be created. This allows for people to get a good idea of the space there is to work with. Audience views, lighting and functionality can be tested. Once the design is finalized, technical drawings will be sent out to the fabrication shops for it to be constructed. (Carver, 2009, p 197-205) When designing the set, not only are there the previously mentioned techniques and considerations for the designer to keep in mind, there are also artistic considerations. The first thing a designer might do is research the setting of the show. For example, if the show is set in the past, then the designer will want to capture the architecture of the time. Once they develop an idea of what the set should convey and the elements that it should contain, the designer must decide how to put it all together. In part, this may come from how an actor is supposed to move through the space. If the set is a house that the character walks through then it might be necessary that the kitchen and living room are located next to each other. However, much will be left to the designer's discretion. One rule of thumb is the rule of thirds. Imagine that the scene is divided into a three by three grid. Positioning focal points along the two imaginary horizontal and vertical lines creates an image that is supposed to be more visually appealing. It is typical for a person to just focus on the center of what they see. By creating the other focal points, it draws the viewer's attention to more of the scene and makes the image more interesting. Set design calls on many more features seen in art. Line style, color, texture, line weight, shape, pattern, scale, and shades should all be taken into account. Cool colors create a sad or mellow tone whereas warm colors are happier and more energetic. Straight lines can be harsh while curved lines are typically soothing. Bright colors indicate a happy mode while dark colors can be upsetting and mysterious. (Carver, 2009, p 33-73) Therefore, set design is a process of considering a variety of elements and determining the best way to combine them to achieve the desired effect. There is no one correct design.<br />
<ref>Carver, Rita Kogler. Stagecraft Fundamentals. 1st ed. Boston: Focal, 2009. Print.</ref><br />
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===Fabrication===<br />
Designing the set is still only just the beginning. Once the technical drawings are handed over, the set still needs to be created and there are a variety of ways to achieve this. Sometimes the drawings will specify details such as materials. Often times it is the decision of those making the set. Most of the time the set is not made of what the audience would expect. Large marble and brick structures could be painted wood. Stone or metal statues could be carved from foam. In the world of theater, nothing is as it seems. This is where the artistic skill of those creating the set comes in. A common set piece is the flat. A flat is essentially a painted piece of plywood or some other composite board. When painted correctly, the flat could appear to be much more than it is. Scenic artists have developed techniques for convincingly painting the appearance of different surfaces onto flats, backdrops and other scenic pieces. Marble is created by painting several layers of paint, according to certain complimentary color schemes, and swirling the paints. Brick is also achieved by layering paint. Often times clay or other mediums can be used to add texture beyond what painting can provide. This part of the process has endless possibilities. If an artist has a vision, they are sure to find some creative method of fulfilling it. (Carver, 2009, p 205-244)<br />
<ref>Carver, Rita Kogler. Stagecraft Fundamentals. 1st ed. Boston: Focal, 2009. Print.</ref><br />
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===Current Examples===<br />
National Theater's [[National Theater#Theater Space#Olivier Theater|Olivier Theater]] is set up for advanced scenic techniques and designs. The fly is 30 meters high and automated enabling quick and smooth set transitions. It has enough power to lift a double decker bus enabling them to store large scenic elements. The most notable technology they have is the drum under the stage. The drum spins enabling a rotating stage. In addition, it is split into two halves with each half being a stage lift. In the past, these lifts have been used to reveal the cross section of a ship in a production of "Treasure Island". The recent production of "Twelfth Night" made good use of the technology available. The set featured a revolving stage. There was a wedge that could rotate and split apart into different slices that would reveal the various sets. The revolving motion was also used to indicate motion and travel. For example, as the actors drove off stage at the end of the first scene, the stage also spun giving the cars more distance to travel as well as transforming the set. In addition, there were two trap doors used to reveal a hot tub and a fountain. A revolving stage was also used in the performances of "Harry Potter and the Cursed Child" at the Palace Theater. The effect was not as dramatic as in "Twelfth Night" where the entire set rotated. Instead, the revolving stage was used to create motion. Specific scenic elements were able to wobble back and forth or spin. For example, Hogwarts' moving stairs were able to spin to mimic their movement. Sometimes the stage would rotate to counter the movement of a character enabling them to walk further than they actually had. Other times characters would be moved without them walking. The set itself was simplistic in comparison to the spinning set seen at the National Theater. There was a backdrop and flats along each of the wings. These flats were on some sort of carriage system that enabled them to be slid side to side. This came in handy when the stage had to be transformed into the Forbidden Forrest. The flats were able to be slid into the stage space to create the trees. The set of "Don Juan in Soho" at the Wyndham's Theater was also notable. While much of it was created through the use of furniture and projections, the set underwent a radical change at the end of the show. The entire stage space was transformed when the sides of the stage swung outward. This created a wider image. The ceiling then tilted down towards the back of the stage which heightened the effect of the widening of the stage while focusing attention towards the back of the stage where actors were. The [[Royal Opera House]] also has a unique system for managing their set. They have a wagon system designed by Rolls Royce. When sets are delivered to the theater, they are stored in a conveyor system. When they are needed, the stage and set are placed on wagons that can slide into a spot on the permanent stage and be lowered hydraulically into place. This enables them to completely switch between the sets for two different shows in just twenty minutes. Furthermore, the Royal Opera House makes the entirety of their sets off-site in Thurrock. In contrast, National Theater makes roughly 60-80% of their sets. Their set building process takes place over just six to eight weeks. Parts will be constructed from scratch or bought and modified if it proves more economic and efficient. One trick they use when creating intricate or heavy set pieces is to use foam. For example, decorative molding that would take a long time to carve out was created by making a mold and filling it with expanding foam. The foam was then painted gold and appeared as if it was authentic. Unfortunately, despite all the work that goes into these sets, they cannot be reused due to the copyright on them. After the run of a production, they are put in storage until they are eventually recycled.<br />
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==Props==<br />
Props, simply put, are pieces of property of the theater company that enhances the set and story. It comes as no surprise that "prop" is just the shortening of property. Props range from elaborate falling chandeliers to plain coffee cups. It is an umbrella term for anything that is portable on stage and does not fall into any other category. Ironically, food and drink consumed on stage fall under the category of a prop. They are used to enhance the plot and characters or the show. Props have been used since the beginning of theater, most notably in Greek and Roman use of masks (Bieber, 1961, p.) <ref> Bieber, M. (1961). The history of the Greek and Roman theater: 2d ed., rev. and enl. Princeton, NJ: Princeton University Press. </ref> However, there is not a lot of history on props as they are often less memorable than a costume or wig, despite that many times they are the height of the tension or excitement in a show. Andrew Sofer demonstrates this best with the use of a prop gun as the medium of drama for a show’s plot. He uses the example of Henrik Ibsen’s “Hedda Gabler” to show the double meaning between killing time and how Hedda must kill herself to end time (Sofer, 2003 p. 167- 203). <ref> Sofer, A. (2003). The stage life of props. Ann Arbor, MI: Univ. of Michigan Press. </ref> He does an in-depth analysis of the symbolism of gun usage in different shows to kill not only one’s self but also all that it represented. One can see that props have a special place on a show’s stage and are necessary to communicate ideas important to the plot. <br />
<gallery mode="packed"><br />
Image:figs-1620590_640.jpg|''Edible Props'' <br> Couleur. (2016). Fig photograph. Licensed under Creative Commons Zero on Pixabay.com<br />
Image: burning-money-2113914_640.jpg|''Flammable Prop'' <br> Intellectual. (2017). Prop photograph. Licensed under Creative Commons Zero on Pixabay.com<br />
Image: glasses-543117_640.jpg|''Glasses'' <br> Timbo84. (2014). Glasses photograph. Licensed under Creative Commons Zero on Pixabay.com<br />
</gallery> <ref> Couleur. (2016, August 25). Fig [Photograph]. Retrieved from: https://pixabay.com/en/figs-red-coward-fruit-fruits-sweet-1620590/ </ref> <ref> Intellectual. (2017, January 24). Prop [Photograph].Retrieved from: https://pixabay.com/en/burning-money-dollars-cash-flame-2113914/ </ref> <ref> Timbo84. (2014, November 23). Glasses [Photograph].Retrieved from: https://pixabay.com/en/glasses-ray-ban-black-sehhilfe-543117/ </ref><br />
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==Lighting==<br />
===The Early History of Lighting in Theaters===<br />
The theaters of the ancient Greeks were always open and performances always took place during the day. They based the start time of the show on the position of the sun in the sky. That way, if darkness was needed, they would have the night sky. In Shakespeare’s time, theaters were moved indoors, so the candles were needed for lighting. The first type of candles used was called footlights because they were located near the actors’ feet. Traditionally, these lights were located on the downstage edge and apron of the stage. Eventually, just putting candles at the edge of the stage would no longer suffice as more control over lighting was desired. It was then discovered that putting a reflective surface behind the candle, between the audience and the actor, would intensify the light. To change the color of the lights, colored liquid would be placed between the footlight and actors. Gas became popular in the late 1700’s and the early 1800’s when it began to be pumped into buildings for lighting. This lead to the invention of the limelight. This device is created by directing a gas flame at a cylinder of calcium oxide. This invention was first used in London at the Covent Garden Theater. In the 1850’s, Joseph Swan, an English physicist, and chemist began working on a light bulb using carbonized paper filament in an evacuated glass bulb. This lightbulb had a low resistance and was not ideal for use in theater. Thomas Edison improved on Swan's design and created a high resistance lamp in a very high vacuum which could burn for hundreds of hours. The fluorescent lamp was created a little after the development of original light bulb. This is a gas-discharge lamp using electricity to excite mercury vapor. The excited mercury vapor produces a short-wave ultraviolet light that causes a phosphor to fluoresce, producing a visible light. Halogen lights are incandescent lights that use a tungsten filament sealed into a compact, transparent, quartz envelope. The envelope is filled with an inert gas and a small amount of halogen, which increases the life of the bulb. (Carver 270-279)<br />
===Conventional Fixtures===<br />
Conventional fixtures are non-moving lights usually hung off of a truss and batons. They are flown in and out to focus the lights on the stage so that performers and items can be spotlighted. <br><br />
All conventional fixtures have a lens, yoke, lamp housing, power cable, accessory holder, and a pipe clamp. At the front of each fixture is the accessory holder for gel frames and directly behind that is the lens holder. There are different types of lenses such as VSNP (very narrow spot), NSP (narrow spot), MFL (Medium Flood), and WFL (Wide Flood), which do as their names suggest. In the middle of a fixture is the yoke. This is used to angle the fixture to focus the light. At the end of the fixture are the lamp housing and the power cable. The housing allows you to change the lamp when it goes out. The cable allows you to connect the fixture to power. Some can even come with LED lamps. (Carver 280)<br />
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====Beam Projector====<br />
{{Infobox<br />
|bodystyle = width:25em<br />
|image = [[File:Beam.JPG|110px|alt=Image ]]<br />
|label2 = '''Description'''<br />
|data2 = Beam Projector Effect (WIKI Commons)<br />
}} <br />
This fixture has an open face and produces a narrow beam of light by using two reflectors. The primary reflector is located in the back of the fixture and is a flat parabolic reflector. In the front of the lamp is the secondary reflector which is spherical and reflects the light from the lamp. Towards the back is the parabolic reflector. The parabolic reflector collects the light from the lamp into intense parallel beams of light. (Carver 280)<br />
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====Scoop==== <br />
{{Infobox<br />
|bodystyle = width:25em<br />
|image = [[File:Scoop.jpg|130px|alt=Image ]]<br />
|label2 = '''Description'''<br />
|data2 = Scoop Fixture (WIKI Commons)<br />
}} <br />
These fixtures are open-faced units that have no lens. The housing for the light itself is ellipsoidal in shape and the inside of a scoop is painted white to reflect the light forward. There are few possibilities when focusing these lights because they can only pan or tilt. Some may joke that one may cook their act if they solely use these lights to light the stage. Scoops come in several sizes from 10 inches to 18 inches. (Carver 280-281)<br />
====Fresnel====<br />
{{Infobox<br />
|bodystyle = width:25em<br />
|image = [[File:Fresnel.JPG||140px|alt=Image ]]<br />
|label2 = '''Description'''<br />
|data2 = Fresnel Fixture (WIKI Commons)<br />
}} <br />
These lights are versatile because they can be used as a stage wash or to focus on a single character. Fresnel lights are soft-edged and have spherical reflectors in the back with sliders attached to the bottom to allow for easy focus. By adjusting the slider forward and backward the relationship of the reflector and the lamp to the lens is changed. Fresnels come in a wide range of sizes from 3 inches to 24 inches and are arguably one of the most used conventional fixtures. (Carver 281)<br />
====Source 4====<br />
{{Infobox<br />
|bodystyle = width:25em<br />
|image = [[File:S4.jpg|150px|alt=Image ]]<br />
|label2 = '''Description'''<br />
|data2 = Source 4 Fixture (WIKI Commons)<br />
}} <br />
The original name for this fixture is the ellipsoidal reflector spotlight or ERS. Many people also refer to it as a leko light, while some others call it a Source 4 because the is the most popular fixture from the ETC company. The Source 4 has an ellipsoid reflector and two lenses. This means the user can change the focus of the beam by changing the distance between the two lenses. Depending on the focus, the user can get a harder edge or softer edge. It is the most flexible and most used fixture in the industry. They also have rotational or stationary shutter barrels. By pushing the shutter into the fixture, the user can mask a portion of the light that comes through the fixture. The rotational shutter barrels allow users to shutter abnormal light angles. Exchangeable lens tubes that come in: 5°, 10°, 14°, 19°, 26°, 36°, 50°, 70°, and 90° can also be purchased. (Carver 281)<br />
====PAR====<br />
{{Infobox<br />
|bodystyle = width:25em<br />
|image = [[File:Para.jpg|150px|alt=Image ]]<br />
|label2 = '''Description'''<br />
|data2 = PAR Fixture (WIKI Commons)<br />
}} <br />
PAR is actually the name of the lamp that is in the fixture. It stands for parabolic aluminized reflector. The lamp and the reflector are sealed together with a lens which is then inserted into the back of a tube, or “can”, to help shape the beam of the light. Note: Some people call these fixtures PAR CAN. This fixture and the Source 4s are the two fixtures that use different lenses such as the VSNP, NSP, MFL, and WFL. Most PAR beams have an oval shape that can rotate to change the direction of each beam’s axis. Some of the newer versions allow you to separate the lamp from the lens, making them very similar to scoops. (Carver 281-282)<br />
====Strip Lights==== <br />
{{Infobox<br />
|bodystyle = width:25em<br />
|image = [[File:Strip.jpg|110px|alt=Image ]]<br />
|label2 = '''Description'''<br />
|data2 = Strip Light (WIKI Commons)<br />
}} <br />
These are large, bulky lights that usually remain in one place for multiple shows. They can have lights of multiple colors or just white lights. They are hung using C-clamps. Strip lights are used for general stage washes or to provide back lighting so the actors can see. (Carver 284)<br />
===Intelligent Fixtures===<br />
Intelligent fixtures are moving fixtures. They can also be hung off of a truss and batons or they can sit on stages and other flat surfaces. Their placement is important because they have a limited range of motion. Unlike conventional fixtures, intelligent fixtures require programming. They are addressed to the directory and is able to understand the user. They are more difficult to program than conventional lighting because they have more than one attribute per fixture that must be controlled. For concerts, these fixtures usually need a skilled live operator who knows what the performer is doing onstage and the cues for lighting changes. The most popular brand for these types of fixtures is Martin and the most popular fixtures are their MAC Auras, MAC 2000 profile/wash movie light and Seladore Desires.<br />
(Carver 285)<br />
===Controllers/Consoles===<br />
In order to raise and lower dimmable fixtures, users use control boxes called dimmers. Dimmer racks have patch bays where fixtures can be associated with a letter and a number to keep track of and control each light individually. A user may run DMX, digital multiplex, to run the lights off of a lighting console. <br><br />
Consoles take the patched lights and allow users to be able to control the lights as cues from shows. This process is tedious but adds so much depth. Imagine ''Defying Gravity'' without that beam of light that suddenly shows on Elphaba. The scene would have less impact without it. Cues are usually named after what scene and act they are in. Usually, a board operator is told when to play the cue by the stage manager via ClearComm. (Carver 288-289)<br />
===Accessories===<br />
GOBOs are different patterns that are cut out in metal and placed in a Source 4 using a GOBO holder. Shadows are cast by the GOBO to achieve the desired effect. Gels change the color of a light fixture without having to change the lamp bulb. They can be diffused with white and darkened with another color. A top hat helps reduce flare and cut out some excess light. Barn doors are placed in front of soft edge fixtures such as fresnels or PARs to block parts of light beams that spill into the border (Carver 289 291).<br />
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==Sound==<br />
===The Ancient Greeks===<br />
The Ancient Greeks are one of the first civilizations to create and build theaters for performances. Many theaters today use concepts and designs that were contrived by this group of people. The design of these theaters was quite simple, in fact, they were designed based on a circle. The diameter of a theater was often 80 feet in length, which is two times the size of most theaters today. In order for the sound of the actors to reach every one of the 12,000 people in the theater, the construction of the building had to be to specifically engineered for sound to travel up the stadium seating.<ref>Carver, Rita Kogler. Stagecraft Fundamentals Second Edition: A Guide And Reference For Theatrical Production. 2nd ed. Burlington, MA and Jordan Hill, Oxford, UK: Focal Press, 2012. Print.</ref> The first documented discussion of concerns about stadium acoustics versus view was brought about by the Roman Vitruvius in the first century BC. He presented the idea that a theater with acoustic dissonance, circumstance or resonance would be unsuitable for audiences and therefore actors. He proposed that careful attention must be made to the selection of the theater site and the type of performances that would occur there, whether they are acting or singing. It was Vitruvius who sparked the development of acoustics of Greek theaters, which spanned over two centuries.<br />
<br><br />
{{Infobox<br />
|title = Sound Ray Paths<br />
|bodystyle = width:25em<br />
|image = [[File:Reflect.jpg|320px|alt=Image ]]<br />
|data2 = Figure 1 ''Auditorium Acoustics And Architectural Design'' by Michael Barron <br />
|label2= '''Description'''<br />
}} <br />
After an extensive trial-and-error process, the Greeks created a theater design that optimized the sound quality and volume for all members of the audience. Sound propagation in a Greek theater was essential to increase the volume. Every member of the audience would receive direct sound based on three reflections of sound; the reflection from the front of the horizontal orchestra, the reflection from the front chorus on the rear half of the orchestra, and the reflection for the actors on the raised stage.<br />
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Figure 1 illustrates the previously described reflection sequence. The reflection from the orchestra carries speech 40% further than without the modification. Greek theaters have the distinct feature of a steep seating rake, around 20 to 34 degrees. Although this is not confirmed, there is no doubt that the higher angles of incidence to the audience seating have a profound effect on the sound quality for the audience. Though these modifications aided in the increased volume of the actors, there had to be silence from the surrounding area of the theater and the audience for unassisted speech to be audible. This is why many theaters were located in urban locations.<ref>Barron, Michael. Auditorium Acoustics And Architectural Design. 1st ed. London: Spon Press/Taylor & Francis, 2010. Print.</ref><br><br />
{{Infobox<br />
|title = Mask Filter<br />
|bodystyle = width:25em<br />
|image = [[File:Polar2.JPG|320px|left|alt=Image ]]<br />
|data2 = Figure 2 ''The sound effect of ancient Greek theatrical masks '' by Fotios Kontomichos, Charalampos Papadakos, Eleftheria Georganti, John N. Mourjopoulos and Thanos Vovolis<br />
|label2= '''Description'''<br />
}} <br />
The most notable theater for its location is the isolated site of Epidaurus, which accommodated around 14,000 people and dates from around 350 BC. In the second century, this theater was considered the most perfect of all the Greek theaters. Seats at this theater reached distances of 70 meters from the front of the stage. How could sound reach the entire audience? The two factors that amplified the sound were masks and the theater design. With a distance that far, the actors used masks to act as a microphone to spread the sound of the actor's voice further. The masks, themselves, were constructed from hardened liquid stone and varied in design aspects such as whether they had open ears or an open mouth. Modern engineers have replicated these masks by creating mannequins that resembled the mask form and produced the type of sound that had come from these actors. The measurements they took produced a set of h<sub>θi</sub>(n) of discrete time impulse responses measured for different angle intervals with the mask on the mannequin. From there, the group was able to determine the corresponding magnetite frequency responses. The final results indicated that mask has the properties of an angle-dependent acoustic filter and the acoustic radiation of the actor's voice was significantly enhanced for the off-axis scenarios. <br />
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Figure 2 is based on the measurements from the manikin and shows the polar patterns for the mask filter and the mask radiation for octave bands centered at 0.25,1,2,4 and 8 kHz.<br />
The acoustics of the theater of Epidaurus were flawlessly tuned for each performance. Any sound produced in the orchestra was reflected and scattered around the theater of the hard limestone surfaces and ultimately reached the audience's ears. The reflected energy reached the listeners with a very small delay of 40 milliseconds. At all positions of the theater the most significant frequencies of the male speech, with a pitch ranging from 125-140 Hz, first vocal harmonics, at 250-420 Hz, and formants, from 300 HZ to 3 KHz, were amplified while keeping the richness and color of each voice. Any sounds that were outside of those ranges were filtered out to avoid the early beginnings of feedback.<br />
In order to see the effects of theater's specific design and the use of the mask working together, engineers denoted h<sub>TIRθ<sub>jrj</sub></sub>(n) as the discrete-time impulse response of the "theater-filter" and measured it for azimuth angles θ<sub>j</sub> and distances of r<sub>j</sub>. This combined impulse response, CIR, was then denoted at h<sub>CIRθ<sub>ijrj</sub></sub>(n) The resulting formula is able to calculate the acoustic results in terms of gain.<br />
<ref>Kontomichos, Fotios et al. "The Sound Effect Of Ancient Greek Theatrical Masks". ICMC. Athens: N.p., 2014. Web. 6 June 2017.</ref><br />
[[File: Stage.JPG|x320px|left|thumb| Plane Measurement and Coordinates for Theater Source and Receiver Positions and Masks]]<br />
[[File: Mask.JPG|x320px|right|thumb| Schematic diagram ]]<br />
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===21st Century Sound Systems===<br />
{{Infobox<br />
|bodystyle = width:25em<br />
|image = [[File:Soundsystem.png|320px|alt=Image ]]<br />
|label2 = '''Description'''<br />
|data2 = Sound System Diagram (WIKI Commons)<br />
}} <br />
Since the time of the Greeks, technology has evolved and become more advanced. The invention of electricity has played a key role in increasing the volume and quality of the actor's vocals. Acoustics refers to the sound quality of a room in reference to the overall audio quality without any sound amplification devices such as microphones and speakers. When creating a theater, the ambient noise that is surrounding the building or room when there is no planned audio must be considered. The Greeks dealt with this by having their theaters located in the middle of nowhere, but in today’s times, that would be utterly useless and unfeasible. Who would want to go to a play or musical in the Sahara Desert? That is why today many theaters pad their walls and make sure the stage is covered by a sound-absorbing curtain, which also doubles as an object to hide the cast until ready. Modern actors may not have learned the proper way to project their voice so that the audience in the back can hear. Modern-day sound systems have let actors and actresses become more lenient with projecting their voices because, with the adjustment of a gain knob and the increase of a slider, their volume is magically louder. Along with the actors and actresses on stage, there are orchestra reinforcements to add to the mood of a performance. However, there is a delicate balance between the actors and actresses and the orchestra because louder does not mean better. It is important to know the difference between amplification and reinforcement or the show could go horribly wrong. Amplifying denotes that the volume of an actor, actress or instrumentalist is increasing. Reinforcement is all about moving sound to create the perfect environment which requires a subtle touch. Amplification is noticeable whereas reinforcement shouldn’t be. Today's sound engineer must also account for the sound of background noise created newer technologies such as HVAC systems<br> (Carver 364)<br />
====PA Systems or Sound Systems====<br />
For a basic sound system, there are three main areas: input, output, and processing. Inputs are quite simple. They are the microphones that are connected via wires or wirelessly to a mixing console. The mixing console takes those inputs and can make pre-amplification changes on the microphone level signals to line levels. The signal then goes through equalization. Different filters can be applied to each microphone. This is helpful for equalizing different voices such as a female voice versus a male voice. Low pass filters are used on male voices so that any noise that comes through the microphone outside of the specified frequency is negated. Similarly, a high pass filter is used for female vocals. Level control is then used to process the signal and send it to the output. The output of a console is an amplifier, most commonly a speaker. The speaker converts the signal that is received into sound waves that people can hear and hopefully enjoy. Sound equipment has many variations. Inputs can include microphones (wireless, lavier, wired, wireless mic packs), contact pickups, magnetic pickups, laser pickups and optical pickups. Signal processors can include reverberation, delays, and amplifiers. Outputs can be loudspeakers (subwoofers, woofers, midrange, and tweeters) and headphones. The most important part is choosing the right equipment for the right show and location as well as speaker placement. For example, subs and heavy bass would not typically be used for a ballet. (Carver 366-367)<br />
====Microphones====<br />
{{Infobox<br />
|bodystyle = width:25em<br />
|image = [[File:Mic.JPG|320px|alt=Image ]]<br />
|label2 = '''Description'''<br />
|data2 = Different Types of Mics (WIKI Commons)<br />
}} <br />
The most basic function of a microphone is to pick up the sound and convert that acoustic sound to electrical energy. There are two main groups of microphones, dynamics, and condensers. Dynamic microphones are versatile, reliable, durable and, most importantly, affordable. The SM57 and SM58 are able to handle anything that life throws at it. The SM58 is used widely as a microphone for vocalists and is most notably identified by its ball grille. The SM57 is more for instrumentalists and can have a windscreen for heavy wind or breathing. Both the SM58 and SM57 are very similar in design and range and can be used interchangeably. Condenser microphones are more likely to be seen in theaters because they have an extremely versatile range. These microphones are quite special because they need 48-volt phantom power. On most mixers, the sound person must switch on phantom power to the assigned microphone. There are various styles of microphones because a handheld mic may not appeal to everyone. A lav or lavalier mic is very small and can be placed on a person’s shirt or in a person’s wig/hairline. Contact pickups are similar to microphones and are attached to instruments to pick up the sound through its vibrations. Pressure-response microphones are also used for instruments. They are mounted on a flat surface with an attached plate that increases gain.<br />
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Impedance of a microphone refers to the amount of resistance a microphone has to an audio signal. The lower the impedance, the less issues a microphone may have when using a longer cable and dealing with noise interference. Typically a lower impedance means a better-quality microphone, therefore a perfect choice for theater.<br />
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Gain deals with the amplification of a microphone through a sound system. If set up properly, meaning the system, microphones, and speakers, gain can be maximized. Handheld microphones have more latitude when it comes to gain versus its wireless counterpart. However, as the technology has gotten better, lavalier microphones have gotten smaller and better, but at a very high financial cost. Lav mics can be seen almost everywhere such as in theaters and on television news shows. The loop is sized for the person’s ear and a piece of tape is placed on their cheekbone and behind their ear. The pack is the hidden in the shirt making sure the person has enough neck room to not pull the mic off. <br />
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Area micing is a technique used for large bands or choirs. An array of floor microphones is placed on the ground and the board operator increases or decreases the gain as needed. For this, it is better to use an odd number of microphones which will provide the most options of which microphones to use at any given time. (Carver 364-368)<br />
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====Mixing Consoles====<br />
{{Infobox<br />
|bodystyle = width:25em<br />
|image = [[File:Mix.jpg|320px|alt=Image ]]<br />
|label2 = '''Description'''<br />
|data2 = Digital Mixing Console (WIKI Commons)<br />
}} <br />
All consoles work on the same concept. They take inputs, process the signal via equalizing, delays and reverberation, and transfer the audio to outputs. Each console is different with a given number of inputs and outputs as well as limits to the types of adjustments one may make to the audio signal. There are two types of consoles, analog and digital. Analog boards come in a range of sizes. Examples include the Mackie 1402VLZ4 14-Channel Compact Mixer and the GL4000. The drawback of these boards is that there are no equalizers, delays, or special effects, which are available on digital boards. Digital boards are the newest in sound engineering technology and are continually being developed. Digital consoles can be more flexible. Some digital boards have mobile device applications that allow a person to control the board from the stage instead of from front of house making equalizing easier and faster. (Carver 370)<br />
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====Speakers and Headsets====<br />
There are four types of speakers: tweeters, midrange, woofers, and subwoofers. Tweeters are meant for producing sound in the high-frequency range. Midrange speakers are designed to reproduce sound at midrange frequencies. Woofers are for low frequencies and subwoofers are to produce sounds at very low frequencies. Subwoofers are usually the speakers that make the floor shake at a dance party. Line arrays are groups of speakers that are hung vertically or horizontally. They have a very narrow spread of sound per speaker. Wedges or monitors are used by most musicians and vocalists so they can hear themselves throughout the performance. Selected sounds are mixed through the soundboards and then output through each wedge. Positioning the speakers is key because some speakers only have 90-degree dispersion. <ref>Mellor, N. (2017). Speaker Off Axis: Dispersion Specifications and Off-Axis Response Plots - Acoustic Frontiers. Acoustic Frontiers. Retrieved 18 June 2017, from http://www.acousticfrontiers.com/dispersion-specifications-and-off-axis-response-plots/</ref>The best positioning for these speakers is in pairs facing the corners of the space diagonal to them. <br />
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Headsets are used for stage managers and other run crew to know what is going on. They allow communication between the groups. Different groups can be on different channels like handheld radios. Clear-com is the most popular and is easily setup using XLR to the control box. It comes in wired and wireless versions. (Carver 371-377)<br />
<ref>Carver, Rita Kogler. Stagecraft Fundamentals. 1st ed. Boston: Focal, 2009. Print.</ref><br />
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==Costumes==<br />
=== History and Method ===<br />
Costumes are very important in transforming an actor into the character they are playing. Costumes are also used to set the scene of the play. For example, Victorian Era costumes will make the show appear to be set in the Victorian Era. Costumes have been used since the ancient Greeks and Romans. Greek theater was a sacred place and often sacrifices were made on the altar in the center of the stage before the show. A show would take place once a year on a day of celebration of the god worshiped in the temple. According to the Greek culture, the god would be present the whole day of the show and the performance was considered a sacred duty which was paid for by the wealthy. In order to act in the play, the actors had to be totally pure for they were channeling their character. Actors would use a staff and wear a wreath to convey this. The actors would wear red ornamental cloaks and stone masks that belonged to the treasure or the sanctuary, these were early props (Stricker, 1955) (Bieber, 1971)<ref> Stricker, B. (1955). The Origin of the Greek Theatre. The Journal of Egyptian Archaeology,41, 34-47. doi:10.2307/3855235</ref>. <ref>Bieber, M. (1971). The History of the Greek and Roman theater. Princeton: Princeton University Press. </ref> Not only did the actors have to be in a state of purity, only the clean and pure public could attend this performance. They too would wear decorative cloaks and wreaths to celebrate the sacred day. Costumes were very important to conveying the story due to the fact that it would reveal the gender and social status of the character. Costumes in the Roman theater overlapped quite a bit int that a cloak’s color denoted the status and sex or the character. They also wore masks. During the Elizabethan Era, clothing played a significant part to one's status in society. There were many laws dictating what a person could wear, so many plays had their actors wear clothes of the vernacular for the character. Therefore, the actors of queens and kings wore costumes that reflected that status and those of less important roles wore their own clothing. For plays that took place during the Roman and ancient Greek eras, actors wore togas over their normal clothes. Since costumes were very expensive, many companies reused old costumes (Costumes and Cosmetics, 2013, p. 1) . <ref> Costumes and Cosmetics. (2013) (1st ed.). London. Retrieved from https://www.shakespearesglobe.com/uploads/files/2014/01/costumes_cosmetics.pdf</ref><br> <br><br />
[[File: times-square-1457783_640.jpg|x250px|right|frameless|thumb| Major NY Shows]] BruceEmmerling. (2016). Broadway photograph. Licensed under Creative Commons Zero on Pixabay.com<br />
<ref> BruceEmmerling. (2016, June 15). Broadway [Photograph]. Retrieved from: https://pixabay.com/en/times-square-new-york-manhattan-1457783/ </ref><br />
Today costumes are designed by costume designers, who work closely with the director to make the director’s vision come to fruition. They often need to do a lot of research into who the character is and what time period he or she comes from. This research creates an authenticity to the character. A character wearing a crop top and a pair of short shorts would not be taken for women of status in the Victorian Era. The costume creates the character and that costume is iconic. Who would Glinda from "Wicked" be without her extravagant happy dresses? The costumes are more than just the clothing the actors are wearing. They include the shoes and accessories that are paired with the outfit. Costumes are meant to be used as an extension of the actor, which means that if two characters are polar opposites, their outfits will be totally different. It adds to the depth of the character. The costume designer then creates sketches of their proposed idea to share with the director. These costumes are then either approved or sent back with critiques. After the costume designs are approved, there is a lot of work to be done (Nusim, 2017) (Landis, 2014). <ref> Nusim, R. (2017). Character by Design (1st ed.). ACADEMY OF MOTION PICTURE ARTS AND SCIENCES. Retrieved from https://www.oscars.org/sites/oscars/files/costumes_and_makeup_activites_guide.pdf </ref><ref> Landis, D. (2014). COSTUME DESIGN DEFINING CHARACTER (1st ed.). The Oscars. Retrieved from https://www.oscars.org/sites/oscars/files/teachersguide-costumedesign-2015.pdf</ref><br />
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===Fabrics===<br />
[[File: towel-1838210_640.jpg|x250px|right|frameless|thumb| Different Fabrics]]<br />
Costumes come in many different shapes, sizes, and fabrics. This is one of the first things a designer has to think about when designing a costume. The material can affect the character’s movement, the actor’s comfort, the time period, and so much more. Fabric choice comes with much consideration and it is very difficult to choose with so many different fabric choices. One of the first fabrics of choice is wool. It is a fabric known for its warmth and itchiness, which is made from a variety of sheep furs. Even though many find wool to be itchy, wool comes in a variety of different types and not all of them are itchy. The fabric is very spongy and an insulator, but the reason many like wool is its ability to absorb up to 30 percent of its weight in water and not feel wet. Along with its water holding ability, wool is also dirt, tear, and flame resistant. This fabric may be worn by a character who is a sheep farmer in Ireland. Another natural and widely used fabric is cotton. It is a light, cool, and soft material that is used often. Cotton comes from the cotton plant and is stronger wet than dry. It can withstand high temperatures and is more breathable than wool. Silk is another fabric used in theater. It is a natural fiber that is spun by silkworms and is considered a fabric of wealth and success. Silk absorbs moisture in the summer and is warm in the winter, which makes it perfect to wear on stage. Due to its ability to retain moisture, silk is easily dyed and shapes well to a person’s body. Linen, not to be confused with cotton, is another widely used fabric. It is produced from the fiber of the flax stalk and is two to three times stronger than cotton. Linen has a unique luster that comes from its inherent nature and is easily dyed. Other fabrics that are synthetic and likewise also cheaper include polyester, rayon, acetate, and nylon. They have many of the same characteristics of natural fabrics, but they are less natural and prone to wrinkle, stain, and shrinkage (Caver, 2012, p. 306- 309).<ref>Carver, Rita Kogler. Stagecraft Fundamentals Second Edition: A Guide And Reference For Theatrical Production. 2nd ed. Burlington, MA and Jordan Hill, Oxford, UK: Focal Press, 2012. Print. </ref><br />
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===Tools, Accessories, and Sewing === <br />
Once the fabric of the costume is chosen, the fabric(s) has to be put together by sewing or other methods. In order for the fabric to be transformed into a costume, the seamstress must be familiar with the tools necessary to create a costume. Tools such as measuring tapes and patterns assist the costume designers to accurately take the measurements of the actor or actress. Once the measurements for the garment are determined, the designer will start working with either a pre-existing pattern or creating a pattern from scratch. A pattern is a template on which a garment can be cut from to form the specific shape desired. They are often made of paper and traced onto the fabric. To create new patterns, patterns may be combined or a sloper tool can be used. Sloper tools provide generic shapes that can be modified to form a new pattern. After a pattern is created, it is pinned to the fabric and then cut by sewing scissors. These scissors can cut fabrics fast with their adjustability and are therefore more expensive than arts and craft scissors. The next step of the process is sewing the pieces together, which can be done with different types of thread that have as great a range as fabrics do. The chosen thread needs to have similar properties to the fabric. To make the costumes unique and complete, accessories such as belts, buttons, and zippers are added. They can change a one-dimensional costume into one fit for a king or queen, but these accessories must be kept organized in order for them to be found in a timely fashion. Some other important tools are seam rippers, which can cut a seam when a stitch needs to be undone without damaging the fabric, and tailor’s chalk, which is used make marks on fabric. (Caver, 2012, p. 309- 317). Finally, after all of these steps have been completed, the fabric can be sewn together to create the costume. Most costumes are sewn by sewing machines, with intricate details sewn by hand. Some of the stitches sewn are quite easy, however many are difficult and require much skill. One commonly used stitch is the overlocking stitch. It is used to combine two edges of the fabric to create a hem on the inside that appears seamless when flipped inside out. The overlocking stitch is considered to be very versatile with it being used for everything from decoration to reinforcement to the construction of a fabric. Once the costumes are completely sewn they are then fit to the actor or actress to ensure a total fit. Interestingly, more complex costumes are initially made of muslin, a very inexpensive fabric, and are fitted to the actor so that the exact measurements can be used during the construction of the real costume. The creation of a costume is a multifaceted process that takes a design from paper to real life. It is difficult, but costumes are essential to a show for they aid the viewer in imagining and fitting the actors or actresses into the roles they play (Caver, 2012, p. 323- 334) <ref> Carver, Rita Kogler. Stagecraft Fundamentals Second Edition: A Guide And Reference For Theatrical Production. 2nd ed. Burlington, MA and Jordan Hill, Oxford, UK: Focal Press, 2012. Print.</ref>.<br />
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===Types=== <br />
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Costumes have come a long way from dresses, togas, and suits. As culture has invited new and exciting shows to the theater, costumes have had to change with the culture. Today’s theater productions have definitely proven to be a challenge for costume designers. There is now a myriad of shows of different time periods, themes, and ethnicities, which can be seen by the 2017 Tony nominees and shows that are currently popular. A prime example would be the Tony-winning "Natasha, Pierre & The Great Comet of 1812", which is an excerpt from Leo Tolstoy’s "War and Peace" about the affair of Natasha with Anatole and Pierre’s existential search for meaning <ref> S. (n.d.). The Great Comet - Official Broadway Site. Retrieved June 13, 2017, from http://greatcometbroadway.com/</ref>. Natasha is a charismatic young Russian woman of status engaged to marry her beloved fiancé Andrey, but while he is away at war she is sent to live with a godmother where she is seduced by an unknowingly married man. Natasha’s costume is white for innocence and is fitting of women of status in Russian during the early 1900’s. All of the costumes are a mixture of timepieces with modern clothing. This can add the idea that "War and Peace" is not just a very long novel with little to do with society today. Natasha’s story is a timeless tale of love, lies, and scandal, so the costumes must accent the characteristics of the characters and make them believable. Another Tony Award-winning show that has a completely different costume design is "The Lion King". "The Lion King" is a very different show about finding one's identity and is loosely based on Hamlet. This is a very difficult show to design for because the characters are animals. It is very hard to mimic the movement of an animal, so the designers worked to make costumes move with the movement of the actors and dancers. They utilized both masks and puppetry to create the movement of many of the animals. Timon and Pumbaa are life-size puppets that are connected to the actors. These shows show the great range of costumes that exist today in theater and the different styles and techniques used. <br />
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===Current Practices===<br />
Tours of the [[National Theater]], [[Royal Opera House]], and Royal Shakespeare Company gave insight into how costumes are currently dealt with. The trend is that the costumes department is divided into sub-departments. These subdepartments take care of creating the costumes, caring for the costumes during their show's run and managing them after the show has finished. During a production, the costumes must be cleaned after performances to keep them in good condition for the actors. This is especially important when a costume is dirtied during the performance. If the character gets a blood stain during the show, it cannot be there at the start of the next performance. In addition, any damage such as a tear in a costume must be repaired. After a show, the costumes are typically labeled with the name of the show they were from, the actor who wore it and the character they played. These costumes are organized and stored in the theater company's costume shop. The costumes can be rented by theater companies, film companies such as the BBC and sometimes the public for use. This enables more money to be earned back from the costs of the show. The Royal Shakespeare Company occasionally has auctions that are open to the public where the costumes are sold off for under £75.<br />
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== Hair and Makeup==<br />
===History and Design ===<br />
Makeup was not used in Greek and Roman theater due to the fact that the masks that they wore were designed to portray the emotions and character traits the characters had. (ref) It was not until the time of Queen Elizabeth that makeup was frequently used. The makeup of the actors was very important due to the fact that not only did it create the character, it also disguised their identity as a man. The actors were painted with white face makeup that sometimes consisted of a mixture of vinegar and white lead, “ceruse”, which was highly poisonous. The white was important because it represented the faces of the rich and royal due to the fact that they did not have to go outside to work. The standard for beauty was a pale white complexion, bright red cheeks and lips, kohl lined eyes, and a blond wig. This would usually be put on a young boy when he was transformed into the character of a beautiful young woman. To make characters shimmer, like characters in Shakespeare’s “A Midsummer Night’s Dream”, crushed pearls and silver would be applied to their makeup (Costumes and Cosmetics, 2013, p. 2) <ref> Costumes and Cosmetics. (2017) (1st ed.). London. Retrieved from https://www.shakespearesglobe.com/uploads/files/2014/01/costumes_cosmetics.pdf </ref>. Modern stage makeup did not really appear until the 1920’s and 1930’s and was started by Max Factor. Max Factor was the person who coined the term makeup and his son was credited with many innovations in makeup. They started the lip gloss, cake makeup, pan-stick makeup, the original cover-up makeup, and the first waterproof makeup (Carver, 2012, p. 339) <ref> Carver, Rita Kogler. Stagecraft Fundamentals Second Edition: A Guide And Reference For Theatrical Production. 2nd ed. Burlington, MA and Jordan Hill, Oxford, UK: Focal Press, 2012. Print. </ref>. Today stage makeup is created by many companies and comes in a variety of different shapes and sizes. They are used in a myriad of different techniques to achieve looks that portray different time periods, people and in some cases animals. The makeup signifies the character’s health, age, and liveliness and also adds to his or her illusion. Together the costume designer and hair and makeup designer work together to flush out and create a cohesive look for the character they are creating. With enough makeup, one can create themselves into a person they are not. An actor can be given an older, younger, sicker, healthier, prettier, plainer, or clearer look. People tend to go heavier on makeup when doing stage makeup than everyday makeup due to the fact that stage lights wash out a normal skin color making it much lighter (almost sheet white). This makes it hard for viewers at a distance to see the fine details of the makeup. To have an effective makeup design, the makeup must project the character to the audience (Gillette, 1999, p. 432-434) <ref> Gillette, J. M. (1999). Theatrical design and production: an introduction to scene design and construction, lighting, sound, costume, and makeup. New York, NY: McGraw-Hill. </ref> <br><br />
When designing makeup, one must keep in mind that they are changing the actor into the character. They have to do a great deal of research to get the character right because it is easy to spot what character is out of place. It was said by Richard Corson that the “makeup suggests genetics, environment, health, disfigurements, fashion, age and personality” (Gillette, 1999, p. 432) of the character. Therefore, it is important to accurately represent the character through their makeup. Makeup can also indicate if a person has been exposed to the elements based on the skin’s color and texture. One can also see if the character has deformities, both accidentally and genetically, which add to the personality of the character quite a bit. A rule of thumb for eccentric makeup is that if the character is eccentric then make it eccentric, if not then stick to the time period. When creating characters of different ages, younger skin tends to have better color with a firmer feel and older skin has a looser feel with less color and more wrinkles. The personality of a character is also portrayed in the makeup with a happier person having smile lines and a grumpier person having a perpetual frown. These are all good things to keep in mind when doing the makeup design and aid in achieving the look that is trying to be accomplished (Gillette, 1999, p. 432-434). <br><br><br />
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===Facial shapes===<br />
Facial shapes have great importance when doing makeup due to the fact that faces are always balanced. Therefore, the makeup must be balanced with the face as well. Faces come in in six different classes of shapes, which are pear, oval, heart, long, round, and square. Depending on one’s facial shape, makeup should be applied differently to highlight its features. Oval faces are considered to be perfectly symmetrical due to the fact that it is wide at the cheekbones and slopes down to a more pointed chin. The heart shaped face is much more different due to the fact that the top of the face is more rounded and then it has a more pointed or triangle shaped chin. It is also known as a triangle face shape. A pear-shaped face is much like a pear. It has a smaller forehead with a gradually larger face down to a wide chin. The square facial shape is the most common face shape. It has more of an oblong shape until the chin, where it’s more like a tilted right angle. A round face shape is very similar to an upside down pear shape face, but the chin is more rounded. The last face shape is the long face shape which is like an elongated oval face shape with higher cheekbones. The face shapes of the actors are necessary for a makeup designer to know when designing a character's makeup as it determines what parts of the face gets highlighted or shadowed. It‘s also important to know other faces when changing a person’s face shape to fit a character (Carver, 2012, p. 340). <ref> Carver, Rita Kogler. Stagecraft Fundamentals Second Edition: A Guide And Reference For Theatrical Production. 2nd ed. Burlington, MA and Jordan Hill, Oxford, UK: Focal Press, 2012. Print. </ref>. <br> [[File: face.JPG|x250px|center|frameless|thumb| |caption = Various Face Shapes (Carver, 2012, p.340 FIG.13.1)]] Various Face Shapes (Carver, 2012, p.340 FIG.13.1) <br><br><br />
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===Tools=== <br />
Makeup tools are very important to creating a character’s look due to the fact that they are what is used to transform the actor's face into the character's face. Makeup artists utilize brushes of different sizes, shapes, thicknesses, and styles. They all have a purpose and a designer will have many. Flat brushes are very good for blending colors together due to the fact it gives you a great amount of control when adding and removing pigment. An angle brush is really important for doing eye shadows and precise lines near or around the eye. Dome brushes are really good for blending and applying concealer under a person’s eyes whereas round brushes are good for eyeshadow and brows. There are detail brushes and powder brushes which add small details and blend well. Foundation brushes are used to apply and smooth foundation, which covers the majority of the face. The last brush to be covered is the contour brush. This brush is used to highlight and shadow the face so the person looks like they have higher cheek bones. It is also used to reconstruct the face to the right face shape. It is apparent that there are many brushes with different purposes and different artists have different uses for any given brush. They are all correct though! People have different uses for different brushes. Brushes are not the only tool that makeup artists use. Artists use spatulas to apply scar wax and thicker products, which is mixed with a plastic palette. A powder puff is usually used to apply powder or blot. Different types of sponges are used to blend and apply crème makeup. As a rule of thumb, the more porous the sponge the more texture is going to be applied to the skin. These are just some of the tools makeup artists use and there is much more to explore. (Carver, 2012, p. 341- 343) <ref> Carver, Rita Kogler. Stagecraft Fundamentals Second Edition: A Guide And Reference For Theatrical Production. 2nd ed. Burlington, MA and Jordan Hill, Oxford, UK: Focal Press, 2012. Print. </ref>. <br><br><br />
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=== Types of Makeup===<br />
====Cake Makeup==== <br />
This is the most commonly used type of makeup and it comes in both dry and moist compacts of pigment. They come in a variety of colors and shades matching every skin color. Cake makeup additionally comes in a variety of highlights and shadows to contour the actor’s face. To apply this makeup, artists moisten a makeup sponge or brush and then wipe it across the cake. It is then applied to the face. However, if the sponge is not wet enough the makeup won’t apply. If the sponge is too wet, the makeup will be too opaque. An actor should have a clean face when this is being applied. Usually, the highlights and shadow are applied over the foundation, but to get a more muted effect it can be placed under the foundation. Cake makeup does not need setting powder to prevent the makeup from smudging and sweating off (Gillette, 1999, p. 436-437). <br><br />
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==== Crème Makeup====<br />
Crème makeup is a non-greasy makeup that is often applied with a sponge, brush, or fingers. Unlike cake makeup, crème makeup does not require a damp tool. It can be used with cake makeup, but it does require setting powder. For easier usage, this makeup comes in sticks and crayons (Gillette, 1999, p. 437-438).<br><br />
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==== Liquid Makeup ====<br />
This makeup is not usually used for the face, but for the body. The use of a name brand theater makeup is not necessary because store bought types work just as well. One drawback of this makeup is that it dries more quickly than other makeups, which makes it difficult to blend when more than one color is used (Gillette, 1999, p. 439). <br><br />
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==== Dry Makeup ==== <br />
Dry makeup is classified as makeup that is dry when applied. This makeup is not usually used as a standalone makeup. It is usually used in conjunction with greasepaint and cake makeup. A common dry makeup is face powder, which is used to set a face. Though, if in a pinch, it can be used as a quick foundation. Any excess is dusted off with a fluffy brush (Gillette, 1999, p. 439). <br><br />
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==== Greasepaint ====<br />
Greasepaint was the first form of makeup before good quality crème and cake makeups were created. It was originally the most commonly used face makeup. It is quite translucent and available in a multitude of colors. It is applied with the fingertips and stippled to create a multidimensional layered effect, however, each layer needs to be set with setting powder. It clogs the pores and makes the person sweat even more than normal when under the bright lights of a stage (Gillette, 1999, p. 439). <br />
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<gallery mode="packed"><br />
Image:makeup-brush-1746322_640.jpg|''Brushes''<br />
Image:creme.JPG|'' Ben Nye crème foundations (Carver, 2012, p.340 FIG.13.9)''<br />
Image:cosmetics-259181_640.jpg|''Highlighter and Brushes''<br />
</gallery><br />
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===Application technique===<br />
==== Highlights and shadowing====<br />
To create a multidimensional look, makeup artists take advantage of shadowing and highlights. They are used to make a person look older, younger, sicker, or healthier. Contrasting colors, such as brown and bright ivory, are used to draw attention to one part of the face while reducing attention on another part. One can create harsh angles by making harsh lines and smooth harsh lines by blending lighter colors (Gillette, 1999, p. 440-441). <br><br />
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==== Stippling ====<br />
Stippling is the act of dabbing or patting makeup rather than stroking it on the face. It is often done using a brush or sponge and it roughens the texture of the skin. The appearance of larger pores are produced by a larger pored sponge and can also be used to create the look of acne. To create a more natural look two or more colors are stippled together. If a shadow or highlight is too heavy it can be stippled with a base to create a natural look (Gillette, 1999, p. 442). <br />
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{{Infobox<br />
|title = Power of Makeup<br />
|bodystyle = width:20em<br />
|image = [[File:nvo.JPG|x450px|alt=Milestone Image]]<br />
|label1= Thanks to<br />
|data1= [[User:Nbloniarz|Natalie Bloniarz]]<br />
}}<br />
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===Special Makeup ===<br />
Sometimes an actor does not have the same exact features of the character they are playing. When this is the case, products such as nose putty, derma wax, latex, and prosthetics are used to modify the actor's features and achieve the character's appearance. Not everyone has a crooked nose or a facial scar so makeup artists must get creative when a character does have an irregular feature. Nose putty is used to give a different shape to the actor’s nose, chin, or other inflexible facial feature. The putty is shaped onto the face of the actor and is glued onto the skin with spirit gum to create more security. It is then painted with makeup to match the skin tone and stippled to give texture. Derma wax is similar to nose putty but is does not adhere as well so spirit gum is absolutely necessary for adhesion to the face. It is more easily molded and adding cotton adds to its structure. It is painted similarly to nose putty. Latex is one of the more used special effects because it can be used to make bald caps, eyebrow masks, and wrinkles. However, the drawbacks of latex include that it is difficult to remove and, if applied to hair, the hair must be shaved off and people can be allergic to latex. Latex does create a nice smooth layer that can be built up with makeup though. When creating these parts are too much, prosthetic noses, chins, and others pre-made features can be purchased. They are sometimes needed to complete the look (Gillette, 1999, p. 443-50). <br><br><br />
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===Hair=== <br />
Hair styling finishes off a character's appearance. Often use wigs are used to achieve the character's hair, but sometimes the actor’s actual hair is styled too. The hair style must match the style and length of the time period to create a believable and authentic character. The hair can be dyed, curled or braided to match the time period. If the character is a flapper from the 1920’s then she would have a bobbed hairstyle and a man of the same time would have a slicked back middle part. It takes a lot of research and time to create the perfect look for the character’s hair. <br><br><br />
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==Poster & Promotion==<br />
Theater advertising is an often neglected area of study but critical to putting on a show. After all, there is no show without an audience to see it. The promotional methods were influenced by the technology of the time. During the Middle Ages, the most effective advertising was word of mouth. The performers and town criers would announce performances to the town. Additionally, the sound of drums and trumpets were used to indicate a performance. Descriptions of the show were also written out, given to people and attached to posts in the town. This led to the name poster. At the time of early theater in London, printers started to be given licenses to print playbills or posters for shows. These were handed out to people. In addition, there would be a drum procession through town and a flag raised at the theater to indicate a show. Just before a performance, a trumpet would sound three times. As printing technologies improved over time, so did the posters. Actors also started to expect their names to appear on these posters. Circuses led a new development for these posters. They introduced using illustrations as it was a natural way to promote with all the animals present. Introducing images to posters created new appeal and draw for those who were illiterate. The next advancement was the introduction of color to the illustrations. The posters became an art form. They started creating larger advertisements created by printing the design across many pages and posting them all up together in the proper configuration, like a puzzle. Posters grew so important that stock posters were developed for popular shows. The quality of the posters improved as the technology did but experienced little improvement during the World Wars. The Pop Art movement brought life back to the posters. Advertisers started bringing in television stars to create more draw. Posters would feature iconic images that could also be used for marketing. While posters are not as important as they once were, they are still a key part of advertising for performances. <ref>Theatre posters. Retrieved from http://www.vam.ac.uk/content/articles/t/theatre-posters/</ref> Walking around London, posters for the current shows are hung everywhere. They line the underground stations. The West End also serves as its own advertising. Walking through the area, the buildings are plastered with billboards and posters displaying what is showing. There is also a free guide that is distributed called the Official London Theatre Guide which began in 1922. It contains information on all of the upcoming shows as well as theater and tourist information. E-marketing is also important. Online advertisements can create a draw. Subscribers may receive notification emails about shows and offers as well as an e-newsletter. After all this time though, word of mouth still remains powerful. The hype created for shows such as "Wicked", "The Lion King", and especially "Hamilton" right now, draw in audiences and create high demand for shows.<br />
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=Section 2: Our interpretation of The Play that Goes Wrong =<br />
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''The Play that Goes Wrong'' is a hilarious play that follows a production group attempting to put on a play called ''Murder at Haversham Manor'', a 1920's murder mystery. However, Cornley Polytechnic Drama, the group putting on the murder mystery, has had a difficult time with prior shows, so the expectations are set pretty low for the play they are producing now. Due to the fact that this a play inside of a play the stage tech are seen scrambling to fix things and become part of the actors. The stage tech also interacts with the audience the whole time giving the feeling that you are watching the ''Murder at Haversham Manor'' and all of the mess ups that an unprofessional and accident prone theater may face. For our deliverable, we explored the scenic, lighting, sound, costume, makeup, and promotional aspects that went into the performance we saw on "The Play That Goes Wrong" and created our own interpretations of how to put on the show in regards to each department. These interpretations are largely based on what we saw at the performance, what worked and what we felt could be improved as well as the research we did in our background.<br />
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==Scenic==<br />
[[File:Stage Right- sm- JR.JPG|thumb|right|x500px]]<br />
Designing the set for "The Play That Goes Wrong" is a unique process because it is a play within a play. As the designer for "A Play That Goes Wrong" the overall set design must be considered. However, the show is a performance of an amateur theater company attempting to perform a show. Therefore, to establish the set on the visual level, the designer must act as the designer for that company. The set must be designed to look like it was designed for the murder mystery show. Furthermore, it must reflect the styles and resources of the amateur theater group. Therefore, the set would appear to be low budget and not a refined, high quality. For this part of the design, I am basing the set on the board game Clue as it is a classic example of a murder mystery that many people can recognize. Once the basic visual design of the set is established based on the murder mystery play, design considerations for "The Play That Goes Wrong" must be looked at. This includes all of the special effects that are used to make it look like the murder mystery play is going terribly wrong. The most important tool we will be using is electromagnets. Throughout the show, the set literally falls apart. Wall hangings fall down, the second story floor collapses and the walls themselves fall down. We plan to achieve these effects through the use of electromagnets that can be turned on and off. When, for example, a wall decoration should be hanging, the magnet will be turned on. When it is time for the decoration to fall, the magnet can simply be turned off. This enables simple, on-demand control of the set failures. From a booth, the magnets can be switched on and off and perhaps even integrated into the cue system. When the second story floor collapses, the fall is controlled by mechanics behind the set. The platform is supported by cantilevered beams. Backstage, these beams are held up in a system that lets them pivot and lock into place in several positions. The beams begin the show horizontal. When the floor first fails, the position can be released, and drop in a controlled manner through the use of a motor, into the next position it can lock into. This can be repeated as the platform continues to fall. In addition, the show makes use of a bit of pyrotechnics when the garbage bin catches fire. This would be the responsibility of specialists as fire is a safety hazard.<br><br />
Actually designing the set in Solidworks proved to be a good lesson in the difficulties of set design. In the model, it becomes very apparent how tricky it is to make sure every seat has a good view of the set. The proscenium arch itself quickly blocks out the view of the audience as they start to move off to either side. This requires the set to be further forward on the stage to improve visibility. Secondly, designing the side walls of the room quickly turned into an issue. In order to improve visibility, I turned the left wall out towards the audience. Instead of a 90 degree with the back wall, it is at an 118-degree angle. However, I realized the same could not be done with the other wall. This is because the floor of the second level has to be able to swing down but, if it is made with an angle greater than 90 degrees, it will not have clearance on the side. In addition, the same problem of visibility would occur that I sought to eliminate on the other side. That is also ignoring the fact that having one side turned out but not the other would create a very oddly shaped room. It is at this point that I revisited the original set. My set had already been based on it a bit, as the story line and set were closely related meaning that the set couldn't be changed too much and still have the lines and action work. The set pieces had to be able to fail certain ways in order to fit with the story. When I looked at the set again I realized how the designer played with perspective. The back wall was actually split into sections that enabled them to bend it so each side wall could be angled out without the back wall seeming warped. Therefore, set design is not nearly as simple as creating an image in your head of the scene and putting it on the stage. In the rendering of my simplified set, some of my ideas for modification to the original set can be seen. First of all, while the rendering does not contain all the details, the concept is still for the set to be less elegant than the original set. This fits with the theme that the theater company within the show is low budget and amateur. Secondly, the furniture and color scheme were inspired by the board game Clue. In particular, the couch was designed after couches seen on the board game in the lounge and study. The wall color was also based on the game and the light color is meant to keep the area appearing open and large as light colors make spaces seem larger.<br />
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==Props==<br />
The props are very important to the show due to the fact that they add to the humor of the play within the play. The play itself is called ''The Play That Goes Wrong'' and that's what is shown to the audience. The missteps and malfunctions of the Cornley Polytechnic Drama group that go horribly wayward are captured. Below are some of the important props that make the show a comedic success. <br />
{{Infobox<br />
|title = collie<br />
|bodystyle = width:25em<br />
|image = [[File:dog-2286773_1280.png|x450px|alt=Milestone Image]]<br />
|label1= Painting prop<br />
|data1= royalty free image <br />
}}<br />
=== Picture of the Collie ===<br />
It may seem like an odd prop, but this picture is very important to some of the humor of the play. During the show, characters are interviewed by Inspector Carter to determine who killed Charles Haversham. When Cecil Haversham, the brother of the late Charles Haversham, is interviewed by Inspector Carter, the inspector looks at the picture above the broken mantel and asks if the picture of the dog is a portrait of the father. It is obvious that the wrong picture was put up during the set decoration and it shows how the production company producing the show is not at all organized. The conversation progresses and the detective asks if the recently departed Charles was the spitting image of his father, again depicted by the picture of the dog. I choose a picture of a silly looking dog to add to the funniness of the situation and allow the audience to try to picture the actor as a dopey looking dog. If I could get a picture made, I would have the dog holding a whiskey glass and playing cards. The prop has a magnet on it which keeps it attached to the wall and when the door gets shut at the end of the act all of the stuff hanging on the walls falls off by the disengagement of the magnets. This adds to the dysfunction of the show and makes everyone laugh. <br />
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{{Infobox<br />
|title = "white spirit"<br />
|bodystyle = width:12em<br />
|image = [[File:glass-565914_640.jpg|x450px|alt=Milestone Image]]<br />
|label1= Drinkable prop<br />
|data1= royalty free image<br />
}}<br />
=== White Spirit and Whiskey bottles ===<br />
Fake alcohol is often used in theater to liven the mood and add to the plot. As said earlier, props can be something that is edible or drinkable on stage, so the “liquor” does count under the umbrella term of props. During the show, after Charles Haversham’s death, the characters decide to grab some of Charles’s whiskey to calm down. The lines say that the first bottle grabbed is empty but the actor grabs the full bottle so he pours it out. Then when the character grabs the bottle that is supposed to be full it is the empty bottle previously looked for. It is obvious that when the two bottles were placed they were switched or the actor got the bottles from the wrong places. Either way, the scene shows the cast and the production company’s incompetence. The murder mystery inside of the show is just so bad it’s funny. The next problem is that there is no liquor for the cast to drink during the following scene. Instead, the stage manager hands out a few glasses with a bottle of unknown “white spirit” that looks like some cleaning detergent. When the actors are forced to take a drink they all spit it out because of it, of course, tastes terrible. For these props, I will have two generic whiskey bottles, one full of a brownish liquid and one empty. For the “white spirit” handed to the actors as an alternative, I will have a glass bottle with a do not drink sign on it to make sure that the audience understands the mistake and why the actors are spitting the liquid out. <br><br />
{{Infobox<br />
|title = vintage couch<br />
|bodystyle = width:12em<br />
|image = [[File:couch-1952918_640.png|x450px|alt=Milestone Image]]<br />
|label1= Furniture props<br />
|data1= royalty free image<br />
}}<br />
=== Couch ===<br />
The couch is another classic piece of furniture used on the stage. The show takes place during an engagement party on a cold December night during the 1920’s. Therefore, the couch is in the style of that time period. The couch is at the center of the stage and it the center of the drama due to the fact that is where Charles Haversham’s body is found. There is nothing really special about the couch other than having collapsing legs. For the set, I would have a couch that looks like it’s from that time period and has it placed in the center of the stage to attract attention to it. <br />
<br><br />
{{Infobox<br />
|title = stretcher<br />
|bodystyle = width:25em<br />
|image = [[File:vintage-1636373_640.jpg|x450px|alt=Milestone Image]]<br />
|label1= Illusion Prop<br />
|data1= royalty free image<br />
}}<br />
=== Stretcher ===<br />
A stretcher is another weird prop to find on stage, but props are meant to have attention drawn to them. During the show, the stretcher is used to lift away the dead body, but this stretcher is from the 1920’s. It is basically two long horizontal poles with canvas that is sewn with holes to put the poles through. The funny part of the show is that, when the actors are trying to pick up the body, the two poles rip from the canvas leaving the body and the rest of the canvas under the body. The “dead” body Charles then grabs the poles with his arms and legs to be carried off the stage. It is really funny due to that fact that no matter what the actors do, nothing goes right. To create the stretcher, I would take two seven foot wooden poles and sew the canvas to fit around the poles with enough room to cradle a body inside. I would then have the base Velcroed so that it would imitate ripping when the body is lifted. <br />
<br> <br><br />
<br />
==Lighting==<br />
<br><br />
[[File:Lighting_The_Play_that_Goes_Wrong.jpg|500px|alt=Image ]]<br />
<br />
<br><br />
The lighting design for ''The Play that Goes Wrong '' is used to add to the comic timing and the absurdity of the play. As previously stated, the show is performed by an amateur theater company who has had several attempts at performing shows such as "Cats" and "James and the Peach" with each show resulting in failure. They are determined to make this show called, ''Murder at Haversham Manor'' a success. The wash for this play remains constant throughout the entire play and there are some attempts to make the lightning fancier with spotlights and flashes of red for dramatic effect. The stage is a stage on a stage, which sounds confusing. The diagram above displays what the stage looks like with the lights and their position on the batons and side mounting infrastructure. The scene of the play does not change and takes place in a living room and study on a cold winter's night as well as behind the set.<br />
<br />
<br><br />
Starting with the lights that are between the fake backstage and backstage, our plan is to use PAR 64 strip lights with ROSCO 81 Urban Blue with Diffuser. The Urban Blue color is a great color to imitate a very cold, brittle scene. There is a diffuser to dampen the coolness and imitate an amateur lighting designer's attempt at making the set cool. These lights will be shining straight downward creating the cool winter scene. For the wash, backwash and side wash, we will use the Source 4 PARNel WFL, the Source 4 PAR MFL and Chauvet LED PAR 64 fixtures. The WFL is to light the wide stage, but because they are to have a wide dispersion of light, the color will be lacking in color intensity. The MFL is also to light the stage; it will have a greater color intensity, but will only have a throw distance of the front of the stage. There will be ROSCO 02 Bastard Amber and ROSCO 4830 CC 30 Pink gels in the fixtures since these colors are excellent on every skin tone and create a happy, warm tone. We have several fixtures meant for spotlighting actors; the Q500NSP (PAR 56 NSP) and ETC 405 (5-degree Source Four). The ETC fixture is meant to spot someone centered on the stage and the QS500NSP is meant to spot someone who is on the left and right middle of the stage. These lights do not have gels because white light is sufficient to spotlight any character. The last two fixtures are the MAC TW1. These are dynamic fixtures meaning that they have a certain degree of rotation in the x and y-axis. They are able to track moving people and can display a CMY spectrum of colors. These will be used for the few scenes of attempted fancy lighting. The angles of the lights that are listed in the table below are only approximate; there is a high chance, that when the master electrician is hanging and focusing the lights, the angles will change.<br />
<br />
<br><br />
There are only a few scenes with "fancy lighting", so the rest is leaving the wash up on the set. These scenes include the opening of the play and during a scene in the beginning where the dead body is found. However, an actor doesn't make his cue and the effect is repeated two or three times as the entire cast repeats that there has been a murder. In the opening of the play, there is a spotlight where the "director" of the play is supposed to stand in to present his play, but he is only half in the light because he did not step forward enough to be in the light. We plan to use the ETC 405 fixture to shine a spot on the stage and have it focused so that we miss the actor. Our plan for the actor who is supposed to be dead on a couch is to use one of the MAC TW1 to shine a spot on him while he is still getting into his place. Lastly, when the cast says "murder", we plan to use both of the MAC TW1s to flash red on the group of actors on the center of the stage. <br />
<br />
<br><br />
===Lighting Details===<br />
{| class="wikitable" width="80%"<br />
! Name<br />
! Angle<br />
! Colour<br />
|-<br />
! scope="row"| Chauvet LED PAR 64<br />
| align="center"| 135<br />
| align="center"|ROSCO 02 Bastard Amber<br />
|-<br />
! scope="row"| Chauvet LED PAR 64<br />
| align="center"| 225<br />
| align="center"| ROSCO 02 Bastard Amber<br />
|-<br />
! scope="row"| Q500NSP (PAR 56 NSP)<br />
| align="center" |135<br />
| align="center" |No Need<br />
|-<br />
! scope="row"| Q500NSP (PAR 56 NSP)<br />
| align="center" |135<br />
| align="center" |No Need<br />
|-<br />
! scope="row"| ETC 405 (5 degree Source Four)<br />
| align="center" |0<br />
| align="center" |None<br />
|-<br />
! scope="row"| Par 64 Strip (WFL)<br />
| align="center" |0<br />
| align="center" |ROSCO 81 Urban Blue with Diffuser<br />
|-<br />
! scope="row"| Par 64 Strip (WFL)<br />
| align="center" |0<br />
| align="center" |ROSCO 81 Urban Blue with Diffuser<br />
|-<br />
! scope="row"| Par 64 Strip (WFL)<br />
| align="center" |0<br />
| align="center" |ROSCO 81 Urban Blue with Diffuser<br />
|-<br />
! scope="row"| Par 64 Strip (WFL)<br />
| align="center" |0<br />
| align="center" |ROSCO 81 Urban Blue with Diffuser<br />
|-<br />
! scope="row"| Par 64 Strip (WFL)<br />
| align="center" |0<br />
| align="center" |ROSCO 81 Urban Blue with Diffuser<br />
|-<br />
! scope="row"| Source Four PARNel WFL <br />
| align="center" |90<br />
| align="center" |ROSCO 02 Bastard Amber<br />
|-<br />
! scope="row"| Source Four PARNel WFL <br />
| align="center" |270<br />
| align="center" |ROSCO 02 Bastard Amber<br />
|-<br />
! scope="row"| Source Four PARNel WFL <br />
| align="center" |30<br />
| align="center" |ROSCO 02 Bastard Amber<br />
|-<br />
! scope="row"| Source Four PARNel WFL <br />
| align="center" |15<br />
| align="center" |ROSCO 02 Bastard Amber<br />
|-<br />
! scope="row"| Source Four PARNel WFL <br />
| align="center" |0<br />
| align="center" |ROSCO 02 Bastard Amber<br />
|-<br />
! scope="row"| Source Four PARNel WFL <br />
| align="center" |345<br />
| align="center" |ROSCO 02 Bastard Amber<br />
|-<br />
! scope="row"| Source Four PARNel WFL <br />
| align="center" |335<br />
| align="center" |ROSCO 02 Bastard Amber<br />
|-<br />
! scope="row"| Source Four PARNel MFL<br />
| align="center" |15<br />
| align="center" |ROSCO 4830 CC 30 Pink<br />
|-<br />
! scope="row"| Source Four PARNel MFL<br />
| align="center" |0<br />
| align="center" |ROSCO 4830 CC 30 Pink<br />
|-<br />
! scope="row"| Source Four PARNel MFL<br />
| align="center" |0<br />
| align="center" |ROSCO 4830 CC 30 Pink<br />
|-<br />
! scope="row"| Source Four PARNel MFL<br />
| align="center" |350<br />
| align="center" |ROSCO 4830 CC 30 Pink<br />
|-<br />
! scope="row"| Martin Mac TW1<br />
| align="center" |20<br />
| align="center" |No Need<br />
|-<br />
! scope="row"| Martin Mac TW1<br />
| align="center" |340<br />
| align="center" |No Need<br />
|-<br />
|} <br />
<ref>"Source Four ® 5 ̊ Ellipsoidal Series". Texas Scenic. N.p., 2017. Web. 14 June 2017.</ref><br />
<br><br><br />
<br />
==Sound==<br />
<br><br />
[[File:Sound_The_Play_that_Goes_Wrong.jpg|500px|alt=Image ]]<br />
<br />
The sound design for ''The Play that Goes Wrong'' is not very complex and was purposefully done this way. The cast is made up of only 8 members who have only spoken parts. There is one cast member, who acts as the sound board operator and director, who seems to wear a Clear-Com looking headset that does end up projecting through the speakers. Characters will each have a microphone pack that will be projected out through 4 speakers that are hung on vertical struts. These speakers will have 90 degree dispersion, with 45 degrees of dispersion on each side of the axis. Two of the speakers will be located at the front orchestra section mounted at 45 degree angles from where they are mounted. This will project the sound to the first level of the theater. The other two smaller speakers will be mounted on the wall at the front of the second level and will be lined up against the wall. The diagram above shows the design. <br />
<br><br />
In the show there are multiple sound effects that go off throughout the show. In the table below, the act, scene, name and file is presented. These are the sounds we would pick if we were to produce the show. We are using YouTube videos that were converted into MP3 files. The references section has the links to the videos.<br />
<br><br />
{| class="wikitable" width="80%"<br />
! Act <br />
! Name<br />
! Listen<br />
|-<br />
! scope="row"| 1<br />
| align="center"| Creaking Door<br />
| align="center"| <mp3player>File:WoodDoor.mp3</mp3player><br />
<ref>Wood Door Creak Open Sound Effect. (2014). https://www.youtube.com/embed/U3Hqd6fw-i8. </ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Door Slam<br />
| align="center"|<mp3player>File:DoorSlam.mp3</mp3player><br />
<ref>Door Slam Sound Effect (Download Link). (2012). https://www.youtube.com/watch?v=fNNhE0Cz2QY.</ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Dramatic Music<br />
| align="center"|<mp3player>File:Suspense.mp3</mp3player><br />
<ref>Suspense Sound Effects. (2016). https://www.youtube.com/watch?v=ziobtd9JTtk.</ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Flame Lighting<br />
| align="center"| <mp3player>File:Fire.mp3</mp3player><br />
<ref>Fire sound effect (3). (2011). https://www.youtube.com/watch?v=Zmw32wCGWuc.</ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Body Hitting the Ground<br />
| align="center"| <mp3player>File:Bodyeffect.mp3</mp3player><br />
<ref>Body Fall SOUND EFFECT - Körper fällt zu Boden SOUNDS. (2015). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Telephone Ringing<br />
| align="center"| <mp3player>File:Old_phone_-_sound_effect.mp3</mp3player><br />
<ref>old phone - sound effect. (2012). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Drawing Sword<br />
| align="center"| <mp3player>File:Draw_sword_sound_effect_(2).mp3</mp3player><br />
<ref>Draw sword sound effect (2). (2012). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Sword Clashing<br />
| align="center"| <mp3player>File:Sword_clash_sound_effect_(1).mp3</mp3player><br />
<ref>Sword clash sound effect (1). (2012). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Gun Shot<br />
| align="center"| <mp3player>File:MLG_Gun_Shot_Sound_Effect.mp3</mp3player><br />
<ref>MLG Gun Shot Sound Effect. (2016). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Crash<br />
| align="center"| <mp3player>File:LOUD_CRASH_SOUND_EFFECT.mp3</mp3player><br />
<ref>LOUD CRASH SOUND EFFECT. (2015). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Dramatic Music Repeat<br />
| align="center"| <br />
|-<br />
! scope="row"| 1<br />
| align="center"| Dramatic Music Repeat<br />
| align="center"| <br />
|-<br />
! scope="row"| 1<br />
| align="center"| ''Girls on Film'' by Duran Duran<br />
| align="center"| <mp3player>File:Duran_Duran_-_Girls_On_Film.mp3</mp3player><br />
<ref>Duran Duran - Girls On Film. (2010). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 2<br />
| align="center"| Dramatic House Music<br />
| align="center"| <mp3player>File:Open.mp3</mp3player><br />
<ref>🎹 Trevor DeMaere - Opening Stargate (DramaticEpic Orchestral Music). (2012). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 2<br />
| align="center"| Paper Scattering<br />
| align="center"| <mp3player>File:Papers_Falling_SOUND_Effect.mp3</mp3player><br />
<ref>Papers Falling SOUND Effect. (2016). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 2<br />
| align="center"| Clock Chiming<br />
| align="center"| <mp3player>File:Clock_chimes_12_Sound_Effect_(SUPERB).mp3</mp3player><br />
<ref>clock chimes 12 Sound Effect (SUPERB). (2012). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 2<br />
| align="center"| Knocking on Wooden Door<br />
| align="center"| <mp3player>File:Loud_Knocking_on_Door_Sound_Effect.mp3</mp3player><br />
<ref>Loud Knocking on Door Sound Effect. (2014). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 2<br />
| align="center"| Telephone Ring Repeat<br />
| align="center"| <br />
|-<br />
! scope="row"| 2<br />
| align="center"| Doorbell Rings<br />
| align="center"| <mp3player>File:Door_Bell_Sound_Effect.mp3</mp3player><br />
<ref>Door Bell Sound Effect. (2015). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 2<br />
| align="center"| Vase Shattering<br />
| align="center"|<mp3player>File:Glass_Vase_Shattering_Sound_Effect.mp3</mp3player><br />
<ref>Glass Vase Shattering Sound Effect. (2014). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 2<br />
| align="center"| ''Rio'' by Duran Duran <br />
| align="center"| <mp3player>File:Duran_Duran_-_Rio.mp3</mp3player><br />
<ref>Duran Duran - Rio. (2009). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 2<br />
| align="center"| House Music<br />
| align="center"| <mp3player>File:Duran_Duran_-_The_Reflex.mp3</mp3player><br />
<ref>Duran Duran - The Reflex. (2009). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
|} <br />
<br />
<br><br><br />
<br />
==Costumes and Hair and Makeup ==<br />
Costumes, hair and makeup are being based on 4 main characters in ''The Play That Goes Wrong''. The characters have hair, makeup, and costumes based on their attributes and the situations that they are in. <br />
<br><br />
<br />
{{Infobox<br />
|title = Annie <br />
|bodystyle = width:12em<br />
|image = [[File:unat.png|x360px|alt=Milestone Image]]<br />
|label1= Thanks to<br />
|data1= [[User:Nbloniarz|Natalie Bloniarz]]<br />
}}<br />
=== Annie === <br />
Annie is the company's stage manager who makes sure that the actors go on stage at the right time and that the whole backstage is taken care of. She can often be found around the stage trying to keep the show from falling apart. During the beginning of the show she can be seen fixing the broken set and she seems to be pretty well versed in the nuances of the stage and how to fix the stage. Her first costume would be her wearing a nondescript worn t-shirt and a pair of also worn jeans or overalls with a tool belt. This will give her the jack of all trades look. She would have little to no makeup on so as not draw any attention to her. Her hair would pulled up into either a ponytail or pigtails. Her second look (seen in the picture to the right) would be for when she has to take over the role of Florence Colleymoore due to an accidental head injury to the actress. They throw her on stage in the ill-fitting red flapper dress of Ms. Colleymoore, a slightly askew flapper wig right over top of her own hair with the ponytail or pigtails sticking out, and a hasty makeup job. The makeup is absolutely terrible and totally rushed. To achieve this look I first applied a base skin tone foundation and then added some contour on the cheeks to give them more definition. I put a darker concealer under the eye to give the impression of dark circles, which is the opposite of what is typically desired. The eyebrows were filled unevenly and eccentrically to show the haste in the makeup. The lips are smudged and overdone along with blush that covers too much of the cheek. Overall the look should scream overdone, rushed, and terrible, as seen in this picture.<br />
<br><br />
<br />
{{Infobox<br />
|title = Trevor <br />
|bodystyle = width:12em<br />
|image = [[File:mben.png|x360px|alt=Milestone Image]]<br />
|label1= Thanks to<br />
|data1= [[User: Bjsecino|Benjamin Secino]]<br />
}}<br />
=== Trevor ===<br />
<br />
Trevor is the company's lighting and sound operator who makes sure the lighting and sound cues go on during the right part of the script. He is a bit absent minded during the show and can be seen running around fixing things or missing his cues. During the show, he accidentally calls over his com to the audience his notes, which are noting the error on stage to the stage manager, so that the audience notices it even more. One can see him missing sound and lighting cues while he is looking at his phone. Trevor also loses his Duran Duran CD, which he plays as a sound cue by accident and the CD is found in the final scene instead of an important ticket. His demeanor shouts “I don’t care” and tiredness. For his costume, I would have him wear all black, which is the usual technical crew member's outfit. I would leave the actor's natural hair since it adds nothing to the show. His makeup would emphasize under eye bags and would be as natural as possible while highlighting all of the person’s facial flaws. I would have him either grow some stubble or draw it own. To achieve this look I would start with a base foundation of his skin color, stipple highlight, and contour in order to shape his face a little. To create the illusion of wrinkles I would take two different colors, dark and light, and have him wrinkle his forehead. In the crevasses, I would put the darker color and on the top put the lighter color. I would then use a makeup sponge to blend the colors to make the look more natural. To create the stubble on a clean shaven face I would start with a darker foundation around his jawline and then speckle black dots in that area. Then I would blend until I got the desired look. Trevor’s final look would be one of not caring and gross exhaustion. <br><br />
<br />
{{Infobox<br />
|title = Inspector Carter <br />
|bodystyle = width:12em<br />
|image = [[File:oben.png|x360px|alt=Milestone Image]]<br />
|label1= Thanks to<br />
|data1= [[User: Bjsecino|Benjamin Secino]]<br />
}}<br />
=== Inspector Carter (Chris) ===<br />
<br />
Chris is the actor who plays Inspector Carter during the show. Inspector Carter is an esteemed detective called to investigate the death of the healthy, wealthy, and soon to be married Charles Haversham. This show takes place during the 1920’s, so I decided that he should have the look of a 1920’s gentleman. For his costume, I will be taking inspiration from Sherlock Holmes and the quintessential gentleman of the 1920’s. So I would have him wear a pair of trousers, black leather shoes, white shirt, tie, and a long trench coat. This will give him the look of authority during a play that is quite literally falling apart at the seams. Inspector Carter’s hair, if possible, would be slicked back and combed with a part to one side. For the makeup, I would start out with a skin tone foundation and then highlight and contour his face to give him higher cheek bones to make him more proper looking. This would be smudged and blended with a makeup sponge. I would put some dark concealer inside his smile lines to make him look older and wiser. He would also have a small mustache, which could be modeled from Gomez Addams’ mustache. It would be drawn on by hand and then smudged with a brush. He needs to look prim and proper to add contrast to the lack of professionalism during the show. <br />
<br><br />
{{Infobox<br />
|title = Florence Colleymoore <br />
|bodystyle = width:12em<br />
|image = [[File:bnat.png|x360px|alt=Milestone Image]]<br />
|label1= Thanks to<br />
|data1= [[User:Nbloniarz|Natalie Bloniarz]]<br />
}}<br />
=== Florence Colleymoore (Sandra)===<br />
Sandra is the leading lady of the ''Murder at Haversham Manor'' and plays Florence Colleymoore , the soon to be married fiancé of the late Charles Haversham. Her style is of a 1920’s flapper girl who is very seductive and suggestive. She would have a red dress with a modest neckline and that comes down to the mid-calf. It should look kind of cheap looking and be paired with a short kitten heel and skin tone tights. Underneath the dress, she should wear spandex shorts due to the fact she gets knocked out by a door during the middle of the first act and gets carried off through a stage window in the most ungraceful way. The spandex will ensure that the audience does not see more than they paid for. Her second outfit will be when she comes on stage in the spandex and a bra trying to take back the roll from Annie the stage manager. It will be clear that they stripped Sandra of her dress and wig to give to Annie. The makeup for Sandra would start with a skin tone foundation blended with concealer under the eyes. Next, I would stipple highlight and shadow into the face’s peaks and valleys to give the face a more multidimensional look. It should be blended so it does not look splotchy. The eyebrows should be drawn on at a medium darkness, accompanied by a pale eyeshadow. Eye makeup would be finished off with mascara and black eyeliner. I would lightly brush blush onto the apples of the cheeks and finish the whole look off with red lipstick. She will also be wearing a dark haired wig that has a blunt and short flapper hairstyle. Her appearance is important to the play due to the fact that she is one of the only female actors in the ''Murder at Haversham Manor''. She needs to stand out, but also look natural next to the rest of the cast.<br />
<br><br><br />
<br />
==Poster & Promotion==<br />
[[Image:TPTGS Poster.jpg|thumb|right|x600px]]<br />
For promotion, I designed a poster that can be distributed through a variety of modes such as being hung up in the tube stations, hung around the West End, featured on online theater booking sites and social media. The design was meant to be simplistic and bold so it would catch people's attention and be easy to read quickly. I achieved this through high contrast colors and limiting the complexity of the poster. There are no small details or an abundance of colors to distract the eye from the message. The text is minimal, large, and easy to read. A small line of text can be added underneath the title to indicate the date without detracting from the title. That text would be white and in a basic font. The different elements of the poster are also based on themes of the show. To emphasize the theatrical aspects the font is similar to the one associated with Broadway, the page is framed by a theater marquee, and stage lighting casts a spotlight on the text. To emphasize the chaos of the show lights on the marquee are broken, half of the word "wrong" is falling down, one of the spotlights is broken and the other one is shining a bit too far right also casting more focus on the falling letters.<br />
<br><br><br />
<br />
=Conclusion=<br />
<br><br />
A theater production is so much more than just the actors. Without the production team, there would be no show. The acting is only just the surface of what goes into a show. When putting on a show, all aspects of the production must be closely considered. The set must allow maximum visibility to the entire audience, be a functional space and contribute to setting the tone of the show. Lighting must highlight both the set and actors and establish tone. The sound system must give every audience member clear, audible sound. Costumes and makeup should give a visual representation of the characters while maintaining functionality for the actors. Finally, the promotional team must ensure that there is an audience to see the show. "The Play That Goes Wrong" simultaneously demonstrates what to do and what not to do. The fictional theater group in the show creates an unstable, unsafe set, misplaces props and misses an actor with their spotlight among other mistakes. However, the show as a whole features many aspects done right by the real-life theater company. The sound system, while simple, is effective and special effects are carried out in a safe manner. They manage to have the second floor of the set collapse in a safe manner. The set design, through subtly creating an angle in the rear wall, allows for good visibility of the entire set. <br><br />
Future research may compare other productions of "The Play That Goes Wrong". Long-term research includes how theater practices and technology evolve from where they are today.<br />
<br><br><br />
<br />
=Attribution of Work=<br />
We all participated equally in the writing, research, and effort that was put into this large project. As a group, we went to see ''The Play that Goes Wrong'' and bought the play script to help mold the show into our own.<br />
<br><br />
==Katharine Conroy==<br />
In the background and deliverable, I wrote the sections on props, hair and makeup, and costumes. <br />
<br><br />
<br />
==Lauren Conroy==<br />
I wrote the abstract, introduction, lighting background, sound background, and lighting deliverable.<br />
<br><br />
<br />
==Justine Roy==<br />
I wrote the scenic background, promotions background, modern costuming practices, scenic deliverable, promotions deliverable, and conclusion.<br />
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<br />
=References=<br />
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<!--DO NOT COPY THE FEATURED CATEGORY CODE BELOW--><br />
[[Category:Featured Projects]]<br />
<!--ONLY LONDON HUA ADVISORS MAY USE THE FEATURED CATEGORY TAG ABOVE--></div>Kfconroyhttps://londonhuawiki.wpi.edu/index.php?title=Theater_Beyond_the_Actors&diff=19408Theater Beyond the Actors2017-06-22T15:52:21Z<p>Kfconroy: </p>
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<div>=Theater Beyond the Actors=<br />
by [[User:Lconroy|Lauren Conroy]]<br>[[User:Jaroy|Justine Roy]]<br>[[User:Kfconroy|Katharine Conroy]]<br><br />
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{{Infobox<br />
|title = Theater Beyond the Actors<br />
|bodystyle = width:25em<br />
|image = [[File:The Play That Goes Wrong- sm- JR.jpg|x450px|alt=Milestone Image]]<br />
|label1= The Play That Goes Wrong<br />
|data1= Duchess Theater <br />
}}<br />
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[[Category:Drama & Theater Projects]]<br />
[[Category: 2017]]<br />
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=Abstract=<br />
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This milestone looks at the elements that add to the success of a show, which includes scenic, props, lighting, sound, costumes, and poster & promotion. We explored what these elements were like in early theatrical performances in comparison to modern day performances. Some of our research came from attending several current plays in the West End as well as backstage tours of the [[National Theater]], [[The Globe Theater]], and the Royal Shakespeare Company. This information was implemented into our deliverable through our own technical design of the play, ''The Play That Goes Wrong'', which we attended on May 9th. <br />
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=Preface=<br />
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As a group, we had been very involved in theater at WPI. Two of our members were involved in a combination of acting, lighting, and scenic for the Showcase in D-Term. We had all taken various drama classes including, Theater Workshop and Introduction to Drama: Theatre on the Page and on the Stage and had been taught a lot about important dramas and what it takes to put on a show. We were excited to implement what we knew and what we would learn into our deliverable. <br />
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In order for any show to succeed, there must be a dedicated, creative, hardworking production team. This team has the capability of creating a show that can move the audience to laughter, tears or both. Every aspect of the production is important and the show would suffer if a portion was neglected. As a group, we discovered how much time and effort it takes to create a cohesive, successful play. Each department in the production team has to communicate with each other to assure that everything is consistent and does not clash with another department's design. Our main objective was to create a solid design for each department of the production team, specifically scenic, props, lighting, sound, costumes, and promotion. Based on our research, we were able to determine how to create our concepts using specific makeup, props, construction material and lighting fixtures. Our final designs embody all that we have learned through reading and watching "The Play that Goes Wrong" at the West End. <br />
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__TOC__<br />
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=Introduction=<br />
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Theater is one of the oldest art forms that expresses thoughts and ideas through visual entertainment and performative elements. It stretches back to the time of the Romans and ancient Greeks with traditions continuing into modern day. Performances at theaters can leave audiences crying, laughing, beguiled and awe-inspired, but it takes teams of area specialized people to make sure these productions are successful. Technical groups such as scenic, props, lighting, sound, costumes, and poster & promotion aid in the creation of setting the perfect atmosphere for actors and actresses to deliver their lines and move audiences. These groups are the unsung heroes of what makes theater so spectacular.<br />
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The goal for this milestone is to create our own technical designs for ''The Play that Goes Wrong'' utilizing the information we learned from the background and by seeing the show. Each of us put our own spin on the scenic, props, lighting, sound, costumes, and promotion of the play. For each section, we have some type of physical diagram or photograph displaying what we would have done if we were put in charge of each technical department of the show. The results and a statement of why we chose to design our set, props, lighting, sound, costumes, or promotional item the way we did are placed in the deliverable section.<br />
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=Section 1: Background=<br />
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When people go to watch a show, they may think of the amazing acting and/or singing that is taking place. They ooh and aah at the magnificent story told by these actors and actresses, but little do they think of the unsung heroes behind the scenes who work tirelessly to make the characters look and perform the way they do on stage. There is much more to a show than just the actors. Behind the actors, there is a huge line of support crew contributing to every aspect of the show beyond the performers who, without them, the show would not be able to go on. These people belong to the groups of scenic, props, lighting, sound, costumes, and promotional aid. Below is an in-depth analysis of these technical groups that make shows come alive. <br />
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==Scenic==<br />
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The set is affected by a number of factors including theater style, the plot, the setting, the tone, the budget and the designer's imagination. <br />
===History & Techniques===<br />
Going all the way back to the ancient Greeks, their set was just a backdrop. It was designed to provide context for the show and give a place for the actors to hide offstage. In their later years, the backdrop developed to have doors for the actors to enter and exit. The Romans adopted the Greek style and not much changed for the Renaissance and Commedia Del'Arte eras. (Carver, 2009, p 4-11) Between the 16th and 19th centuries, set designs continued to develop. During this time, the wing and drop style came into being. Wings refer to the extension of the backdrop downstage on either side. These were also called legs. Above the stage, a border was added to round out the set. These changes had the added benefit of hiding the inner workings of the theater. Another popular style to emerge was the use of Periaktoi. Periaktoi were three-sided columns that would be arranged side by side. The backdrop would be divided into columns and put on one side of each Periaktoi. The Periaktoi could then be turned, sometimes with the use of a pulley system, to reveal a given backdrop. Flying effects also developed. A platform that was attached to a vertical track could be raised and lowered with pulleys. In an effort to disguise the system, a two-dimensional cloud would mask the platform. Trolley systems for moving set pieces also developed. The pieces would be attached to tracks under the stage that would be pulled along their path using ropes and a crank. This is also the time that the iconic trap door came into being. The door in the floor would open and actors could enter or exit via ladders or primitive elevator systems. The 18th century brought technology advances that enabled quicker transitions and a desire for more realism. This desire for a more realistic experience led to the box set. The box set typically is comprised of three walls, a ceiling, and a scenic ground row. Previous stages were made at an incline to aid in visibility and acoustics with the back of the stage at a higher elevation than the front. This was done away with in order to make the set appear more natural. The box set also led to the convention of the fourth wall. This division between the performance and the audience was furthered by masking the stage from the audience before the show with a curtain. While flying was phased out of style because it was unrealistic, casters (the wheels seen on shopping carts) became the primary means for moving scenery. The revolving stage also grew in popularity as it enabled quick scene changes. The set would be constructed on a platform, built as part of the stage, that could spin. The platform with the scenery would then spin to reveal new sets. (Carver, 2009, 194-196) All of this technology is the basis for current scenic design. While technology has advanced greatly since those time, many of the concepts are still used today. <ref>Carver, Rita Kogler. Stagecraft Fundamentals. 1st ed. Boston: Focal, 2009. Print.</ref><br />
<gallery mode="packed" heights=300p caption="Periaktoi"><br />
Image:Beach Periaktoi- sm- JR.JPG<br />
Image:Periaktoi Transition- sm- JR.JPG<br />
Image:Forrest Periaktoi- sm- JR.JPG<br />
</gallery><br />
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===Design Considerations===<br />
As I said previously, there are many factors that go into the set design. Clearly, there are many options available to scenic designers and they must choose those that best achieve their creative image within their constraints. Depending on the venue and the show, the budget can vary greatly. Broadway and West End shows have massive budgets that allow for costly effects. These shows can showcase expensive effects such as pyrotechnics and trap doors. On the other hand, the local theater will have a much smaller budget and will have to keep the set simpler or get quite creative with the resources they have. Another important factor is the style of theater. Most people are accustomed to the proscenium theater where all of the action takes place behind the proscenium arch. With a proscenium stage, the designer only needs to worry about the audience on one side of the stage and what can be seen at different angles to the stage. However, thrust stages that have the audience on three sides, arena stages with the audience on all sides and black box theaters that can have the audience theoretically anywhere require more careful consideration. It is easy to block the view for parts of the audience due to large scenic pieces. While a couch may be a useful place to sit, this could result in blocking the view for those situated behind or to the side of it if it is not carefully considered. Spectators' view should never be compromised unless for very good reason as every person is paying to see the show and should have a good experience. In addition, limited backstage space as a result of the style of the stage could limit set changes. (Carver, 2009, p 14-19) Naturally, the tone, setting, and plot of the show all contribute to the designer's vision for the set. The set must reflect the environment the show takes place in, be a functional space for the actors to work in and contribute to the feel of the show.<ref>Carver, Rita Kogler. Stagecraft Fundamentals. 1st ed. Boston: Focal, 2009. Print.</ref><br />
<gallery mode="packed" heights=150p><br />
Image:Proscenium- sm.jpg|Proscenium Stage<ref>By User:FA2010 (Own work) [Public domain], via Wikimedia Commons</ref><br />
Image:Thrust-sm.JPG|Thrust Stage<ref>By Wharton Center (Own work) [CC BY-SA 3.0 (http://creativecommons.org/licenses/by-sa/3.0)], via Wikimedia Commons</ref><br />
Image:Arena- sm.jpg|Arena<ref>By Savino Paolella [CC BY 2.0 (http://creativecommons.org/licenses/by/2.0)], via Wikimedia Commons</ref><br />
Image:Black Box.jpg|Black Box Theater<ref>See page for author [CC BY-SA 3.0 (http://creativecommons.org/licenses/by-sa/3.0)], via Wikimedia Commons</ref><br />
</gallery><br />
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===Design===<br />
While there is no mandatory process for set design, it typically includes many sketches and models of the design. This is important so the set designer can effectively communicate their vision for the set with the director and other departments to create a cohesive image. Early stages of design might be represented through sketches then renderings. As the design develops, a scale model of the set on the stage will be created. This allows for people to get a good idea of the space there is to work with. Audience views, lighting and functionality can be tested. Once the design is finalized, technical drawings will be sent out to the fabrication shops for it to be constructed. (Carver, 2009, p 197-205) When designing the set, not only are there the previously mentioned techniques and considerations for the designer to keep in mind, there are also artistic considerations. The first thing a designer might do is research the setting of the show. For example, if the show is set in the past, then the designer will want to capture the architecture of the time. Once they develop an idea of what the set should convey and the elements that it should contain, the designer must decide how to put it all together. In part, this may come from how an actor is supposed to move through the space. If the set is a house that the character walks through then it might be necessary that the kitchen and living room are located next to each other. However, much will be left to the designer's discretion. One rule of thumb is the rule of thirds. Imagine that the scene is divided into a three by three grid. Positioning focal points along the two imaginary horizontal and vertical lines creates an image that is supposed to be more visually appealing. It is typical for a person to just focus on the center of what they see. By creating the other focal points, it draws the viewer's attention to more of the scene and makes the image more interesting. Set design calls on many more features seen in art. Line style, color, texture, line weight, shape, pattern, scale, and shades should all be taken into account. Cool colors create a sad or mellow tone whereas warm colors are happier and more energetic. Straight lines can be harsh while curved lines are typically soothing. Bright colors indicate a happy mode while dark colors can be upsetting and mysterious. (Carver, 2009, p 33-73) Therefore, set design is a process of considering a variety of elements and determining the best way to combine them to achieve the desired effect. There is no one correct design.<br />
<ref>Carver, Rita Kogler. Stagecraft Fundamentals. 1st ed. Boston: Focal, 2009. Print.</ref><br />
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===Fabrication===<br />
Designing the set is still only just the beginning. Once the technical drawings are handed over, the set still needs to be created and there are a variety of ways to achieve this. Sometimes the drawings will specify details such as materials. Often times it is the decision of those making the set. Most of the time the set is not made of what the audience would expect. Large marble and brick structures could be painted wood. Stone or metal statues could be carved from foam. In the world of theater, nothing is as it seems. This is where the artistic skill of those creating the set comes in. A common set piece is the flat. A flat is essentially a painted piece of plywood or some other composite board. When painted correctly, the flat could appear to be much more than it is. Scenic artists have developed techniques for convincingly painting the appearance of different surfaces onto flats, backdrops and other scenic pieces. Marble is created by painting several layers of paint, according to certain complimentary color schemes, and swirling the paints. Brick is also achieved by layering paint. Often times clay or other mediums can be used to add texture beyond what painting can provide. This part of the process has endless possibilities. If an artist has a vision, they are sure to find some creative method of fulfilling it. (Carver, 2009, p 205-244)<br />
<ref>Carver, Rita Kogler. Stagecraft Fundamentals. 1st ed. Boston: Focal, 2009. Print.</ref><br />
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===Current Examples===<br />
National Theater's [[National Theater#Theater Space#Olivier Theater|Olivier Theater]] is set up for advanced scenic techniques and designs. The fly is 30 meters high and automated enabling quick and smooth set transitions. It has enough power to lift a double decker bus enabling them to store large scenic elements. The most notable technology they have is the drum under the stage. The drum spins enabling a rotating stage. In addition, it is split into two halves with each half being a stage lift. In the past, these lifts have been used to reveal the cross section of a ship in a production of "Treasure Island". The recent production of "Twelfth Night" made good use of the technology available. The set featured a revolving stage. There was a wedge that could rotate and split apart into different slices that would reveal the various sets. The revolving motion was also used to indicate motion and travel. For example, as the actors drove off stage at the end of the first scene, the stage also spun giving the cars more distance to travel as well as transforming the set. In addition, there were two trap doors used to reveal a hot tub and a fountain. A revolving stage was also used in the performances of "Harry Potter and the Cursed Child" at the Palace Theater. The effect was not as dramatic as in "Twelfth Night" where the entire set rotated. Instead, the revolving stage was used to create motion. Specific scenic elements were able to wobble back and forth or spin. For example, Hogwarts' moving stairs were able to spin to mimic their movement. Sometimes the stage would rotate to counter the movement of a character enabling them to walk further than they actually had. Other times characters would be moved without them walking. The set itself was simplistic in comparison to the spinning set seen at the National Theater. There was a backdrop and flats along each of the wings. These flats were on some sort of carriage system that enabled them to be slid side to side. This came in handy when the stage had to be transformed into the Forbidden Forrest. The flats were able to be slid into the stage space to create the trees. The set of "Don Juan in Soho" at the Wyndham's Theater was also notable. While much of it was created through the use of furniture and projections, the set underwent a radical change at the end of the show. The entire stage space was transformed when the sides of the stage swung outward. This created a wider image. The ceiling then tilted down towards the back of the stage which heightened the effect of the widening of the stage while focusing attention towards the back of the stage where actors were. The [[Royal Opera House]] also has a unique system for managing their set. They have a wagon system designed by Rolls Royce. When sets are delivered to the theater, they are stored in a conveyor system. When they are needed, the stage and set are placed on wagons that can slide into a spot on the permanent stage and be lowered hydraulically into place. This enables them to completely switch between the sets for two different shows in just twenty minutes. Furthermore, the Royal Opera House makes the entirety of their sets off-site in Thurrock. In contrast, National Theater makes roughly 60-80% of their sets. Their set building process takes place over just six to eight weeks. Parts will be constructed from scratch or bought and modified if it proves more economic and efficient. One trick they use when creating intricate or heavy set pieces is to use foam. For example, decorative molding that would take a long time to carve out was created by making a mold and filling it with expanding foam. The foam was then painted gold and appeared as if it was authentic. Unfortunately, despite all the work that goes into these sets, they cannot be reused due to the copyright on them. After the run of a production, they are put in storage until they are eventually recycled.<br />
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==Props==<br />
Props, simply put, are pieces of property of the theater company that enhances the set and story. It comes as no surprise that "prop" is just the shortening of property. Props range from elaborate falling chandeliers to plain coffee cups. It is an umbrella term for anything that is portable on stage and does not fall into any other category. Ironically, food and drink consumed on stage fall under the category of a prop. They are used to enhance the plot and characters or the show. Props have been used since the beginning of theater, most notably in Greek and Roman use of masks (Bieber, 1961, p.) <ref> Bieber, M. (1961). The history of the Greek and Roman theater: 2d ed., rev. and enl. Princeton, NJ: Princeton University Press. </ref> However, there is not a lot of history on props as they are often less memorable than a costume or wig, despite that many times they are the height of the tension or excitement in a show. Andrew Sofer demonstrates this best with the use of a prop gun as the medium of drama for a show’s plot. He uses the example of Henrik Ibsen’s “Hedda Gabler” to show the double meaning between killing time and how Hedda must kill herself to end time (Sofer, 2003 p. 167- 203). <ref> Sofer, A. (2003). The stage life of props. Ann Arbor, MI: Univ. of Michigan Press. </ref> He does an in-depth analysis of the symbolism of gun usage in different shows to kill not only one’s self but also all that it represented. One can see that props have a special place on a show’s stage and are necessary to communicate ideas important to the plot. <br />
<gallery mode="packed"><br />
Image:figs-1620590_640.jpg|''Edible Props'' <br> Couleur. (2016). Fig photograph. Licensed under Creative Commons Zero on Pixabay.com<br />
Image: burning-money-2113914_640.jpg|''Flammable Prop'' <br> Intellectual. (2017). Prop photograph. Licensed under Creative Commons Zero on Pixabay.com<br />
Image: glasses-543117_640.jpg|''Glasses'' <br> Timbo84. (2014). Glasses photograph. Licensed under Creative Commons Zero on Pixabay.com<br />
</gallery> <ref> Couleur. (2016, August 25). Fig [Photograph]. Retrieved from: https://pixabay.com/en/figs-red-coward-fruit-fruits-sweet-1620590/ </ref> <ref> Intellectual. (2017, January 24). Prop [Photograph].Retrieved from: https://pixabay.com/en/burning-money-dollars-cash-flame-2113914/ </ref> <ref> Timbo84. (2014, November 23). Glasses [Photograph].Retrieved from: https://pixabay.com/en/glasses-ray-ban-black-sehhilfe-543117/ </ref><br />
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==Lighting==<br />
===The Early History of Lighting in Theaters===<br />
The theaters of the ancient Greeks were always open and performances always took place during the day. They based the start time of the show on the position of the sun in the sky. That way, if darkness was needed, they would have the night sky. In Shakespeare’s time, theaters were moved indoors, so the candles were needed for lighting. The first type of candles used was called footlights because they were located near the actors’ feet. Traditionally, these lights were located on the downstage edge and apron of the stage. Eventually, just putting candles at the edge of the stage would no longer suffice as more control over lighting was desired. It was then discovered that putting a reflective surface behind the candle, between the audience and the actor, would intensify the light. To change the color of the lights, colored liquid would be placed between the footlight and actors. Gas became popular in the late 1700’s and the early 1800’s when it began to be pumped into buildings for lighting. This lead to the invention of the limelight. This device is created by directing a gas flame at a cylinder of calcium oxide. This invention was first used in London at the Covent Garden Theater. In the 1850’s, Joseph Swan, an English physicist, and chemist began working on a light bulb using carbonized paper filament in an evacuated glass bulb. This lightbulb had a low resistance and was not ideal for use in theater. Thomas Edison improved on Swan's design and created a high resistance lamp in a very high vacuum which could burn for hundreds of hours. The fluorescent lamp was created a little after the development of original light bulb. This is a gas-discharge lamp using electricity to excite mercury vapor. The excited mercury vapor produces a short-wave ultraviolet light that causes a phosphor to fluoresce, producing a visible light. Halogen lights are incandescent lights that use a tungsten filament sealed into a compact, transparent, quartz envelope. The envelope is filled with an inert gas and a small amount of halogen, which increases the life of the bulb. (Carver 270-279)<br />
===Conventional Fixtures===<br />
Conventional fixtures are non-moving lights usually hung off of a truss and batons. They are flown in and out to focus the lights on the stage so that performers and items can be spotlighted. <br><br />
All conventional fixtures have a lens, yoke, lamp housing, power cable, accessory holder, and a pipe clamp. At the front of each fixture is the accessory holder for gel frames and directly behind that is the lens holder. There are different types of lenses such as VSNP (very narrow spot), NSP (narrow spot), MFL (Medium Flood), and WFL (Wide Flood), which do as their names suggest. In the middle of a fixture is the yoke. This is used to angle the fixture to focus the light. At the end of the fixture are the lamp housing and the power cable. The housing allows you to change the lamp when it goes out. The cable allows you to connect the fixture to power. Some can even come with LED lamps. (Carver 280)<br />
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====Beam Projector====<br />
{{Infobox<br />
|bodystyle = width:25em<br />
|image = [[File:Beam.JPG|110px|alt=Image ]]<br />
|label2 = '''Description'''<br />
|data2 = Beam Projector Effect (WIKI Commons)<br />
}} <br />
This fixture has an open face and produces a narrow beam of light by using two reflectors. The primary reflector is located in the back of the fixture and is a flat parabolic reflector. In the front of the lamp is the secondary reflector which is spherical and reflects the light from the lamp. Towards the back is the parabolic reflector. The parabolic reflector collects the light from the lamp into intense parallel beams of light. (Carver 280)<br />
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====Scoop==== <br />
{{Infobox<br />
|bodystyle = width:25em<br />
|image = [[File:Scoop.jpg|130px|alt=Image ]]<br />
|label2 = '''Description'''<br />
|data2 = Scoop Fixture (WIKI Commons)<br />
}} <br />
These fixtures are open-faced units that have no lens. The housing for the light itself is ellipsoidal in shape and the inside of a scoop is painted white to reflect the light forward. There are few possibilities when focusing these lights because they can only pan or tilt. Some may joke that one may cook their act if they solely use these lights to light the stage. Scoops come in several sizes from 10 inches to 18 inches. (Carver 280-281)<br />
====Fresnel====<br />
{{Infobox<br />
|bodystyle = width:25em<br />
|image = [[File:Fresnel.JPG||140px|alt=Image ]]<br />
|label2 = '''Description'''<br />
|data2 = Fresnel Fixture (WIKI Commons)<br />
}} <br />
These lights are versatile because they can be used as a stage wash or to focus on a single character. Fresnel lights are soft-edged and have spherical reflectors in the back with sliders attached to the bottom to allow for easy focus. By adjusting the slider forward and backward the relationship of the reflector and the lamp to the lens is changed. Fresnels come in a wide range of sizes from 3 inches to 24 inches and are arguably one of the most used conventional fixtures. (Carver 281)<br />
====Source 4====<br />
{{Infobox<br />
|bodystyle = width:25em<br />
|image = [[File:S4.jpg|150px|alt=Image ]]<br />
|label2 = '''Description'''<br />
|data2 = Source 4 Fixture (WIKI Commons)<br />
}} <br />
The original name for this fixture is the ellipsoidal reflector spotlight or ERS. Many people also refer to it as a leko light, while some others call it a Source 4 because the is the most popular fixture from the ETC company. The Source 4 has an ellipsoid reflector and two lenses. This means the user can change the focus of the beam by changing the distance between the two lenses. Depending on the focus, the user can get a harder edge or softer edge. It is the most flexible and most used fixture in the industry. They also have rotational or stationary shutter barrels. By pushing the shutter into the fixture, the user can mask a portion of the light that comes through the fixture. The rotational shutter barrels allow users to shutter abnormal light angles. Exchangeable lens tubes that come in: 5°, 10°, 14°, 19°, 26°, 36°, 50°, 70°, and 90° can also be purchased. (Carver 281)<br />
====PAR====<br />
{{Infobox<br />
|bodystyle = width:25em<br />
|image = [[File:Para.jpg|150px|alt=Image ]]<br />
|label2 = '''Description'''<br />
|data2 = PAR Fixture (WIKI Commons)<br />
}} <br />
PAR is actually the name of the lamp that is in the fixture. It stands for parabolic aluminized reflector. The lamp and the reflector are sealed together with a lens which is then inserted into the back of a tube, or “can”, to help shape the beam of the light. Note: Some people call these fixtures PAR CAN. This fixture and the Source 4s are the two fixtures that use different lenses such as the VSNP, NSP, MFL, and WFL. Most PAR beams have an oval shape that can rotate to change the direction of each beam’s axis. Some of the newer versions allow you to separate the lamp from the lens, making them very similar to scoops. (Carver 281-282)<br />
====Strip Lights==== <br />
{{Infobox<br />
|bodystyle = width:25em<br />
|image = [[File:Strip.jpg|110px|alt=Image ]]<br />
|label2 = '''Description'''<br />
|data2 = Strip Light (WIKI Commons)<br />
}} <br />
These are large, bulky lights that usually remain in one place for multiple shows. They can have lights of multiple colors or just white lights. They are hung using C-clamps. Strip lights are used for general stage washes or to provide back lighting so the actors can see. (Carver 284)<br />
===Intelligent Fixtures===<br />
Intelligent fixtures are moving fixtures. They can also be hung off of a truss and batons or they can sit on stages and other flat surfaces. Their placement is important because they have a limited range of motion. Unlike conventional fixtures, intelligent fixtures require programming. They are addressed to the directory and is able to understand the user. They are more difficult to program than conventional lighting because they have more than one attribute per fixture that must be controlled. For concerts, these fixtures usually need a skilled live operator who knows what the performer is doing onstage and the cues for lighting changes. The most popular brand for these types of fixtures is Martin and the most popular fixtures are their MAC Auras, MAC 2000 profile/wash movie light and Seladore Desires.<br />
(Carver 285)<br />
===Controllers/Consoles===<br />
In order to raise and lower dimmable fixtures, users use control boxes called dimmers. Dimmer racks have patch bays where fixtures can be associated with a letter and a number to keep track of and control each light individually. A user may run DMX, digital multiplex, to run the lights off of a lighting console. <br><br />
Consoles take the patched lights and allow users to be able to control the lights as cues from shows. This process is tedious but adds so much depth. Imagine ''Defying Gravity'' without that beam of light that suddenly shows on Elphaba. The scene would have less impact without it. Cues are usually named after what scene and act they are in. Usually, a board operator is told when to play the cue by the stage manager via ClearComm. (Carver 288-289)<br />
===Accessories===<br />
GOBOs are different patterns that are cut out in metal and placed in a Source 4 using a GOBO holder. Shadows are cast by the GOBO to achieve the desired effect. Gels change the color of a light fixture without having to change the lamp bulb. They can be diffused with white and darkened with another color. A top hat helps reduce flare and cut out some excess light. Barn doors are placed in front of soft edge fixtures such as fresnels or PARs to block parts of light beams that spill into the border (Carver 289 291).<br />
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==Sound==<br />
===The Ancient Greeks===<br />
The Ancient Greeks are one of the first civilizations to create and build theaters for performances. Many theaters today use concepts and designs that were contrived by this group of people. The design of these theaters was quite simple, in fact, they were designed based on a circle. The diameter of a theater was often 80 feet in length, which is two times the size of most theaters today. In order for the sound of the actors to reach every one of the 12,000 people in the theater, the construction of the building had to be to specifically engineered for sound to travel up the stadium seating.<ref>Carver, Rita Kogler. Stagecraft Fundamentals Second Edition: A Guide And Reference For Theatrical Production. 2nd ed. Burlington, MA and Jordan Hill, Oxford, UK: Focal Press, 2012. Print.</ref> The first documented discussion of concerns about stadium acoustics versus view was brought about by the Roman Vitruvius in the first century BC. He presented the idea that a theater with acoustic dissonance, circumstance or resonance would be unsuitable for audiences and therefore actors. He proposed that careful attention must be made to the selection of the theater site and the type of performances that would occur there, whether they are acting or singing. It was Vitruvius who sparked the development of acoustics of Greek theaters, which spanned over two centuries.<br />
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{{Infobox<br />
|title = Sound Ray Paths<br />
|bodystyle = width:25em<br />
|image = [[File:Reflect.jpg|320px|alt=Image ]]<br />
|data2 = Figure 1 ''Auditorium Acoustics And Architectural Design'' by Michael Barron <br />
|label2= '''Description'''<br />
}} <br />
After an extensive trial-and-error process, the Greeks created a theater design that optimized the sound quality and volume for all members of the audience. Sound propagation in a Greek theater was essential to increase the volume. Every member of the audience would receive direct sound based on three reflections of sound; the reflection from the front of the horizontal orchestra, the reflection from the front chorus on the rear half of the orchestra, and the reflection for the actors on the raised stage.<br />
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Figure 1 illustrates the previously described reflection sequence. The reflection from the orchestra carries speech 40% further than without the modification. Greek theaters have the distinct feature of a steep seating rake, around 20 to 34 degrees. Although this is not confirmed, there is no doubt that the higher angles of incidence to the audience seating have a profound effect on the sound quality for the audience. Though these modifications aided in the increased volume of the actors, there had to be silence from the surrounding area of the theater and the audience for unassisted speech to be audible. This is why many theaters were located in urban locations.<ref>Barron, Michael. Auditorium Acoustics And Architectural Design. 1st ed. London: Spon Press/Taylor & Francis, 2010. Print.</ref><br><br />
{{Infobox<br />
|title = Mask Filter<br />
|bodystyle = width:25em<br />
|image = [[File:Polar2.JPG|320px|left|alt=Image ]]<br />
|data2 = Figure 2 ''The sound effect of ancient Greek theatrical masks '' by Fotios Kontomichos, Charalampos Papadakos, Eleftheria Georganti, John N. Mourjopoulos and Thanos Vovolis<br />
|label2= '''Description'''<br />
}} <br />
The most notable theater for its location is the isolated site of Epidaurus, which accommodated around 14,000 people and dates from around 350 BC. In the second century, this theater was considered the most perfect of all the Greek theaters. Seats at this theater reached distances of 70 meters from the front of the stage. How could sound reach the entire audience? The two factors that amplified the sound were masks and the theater design. With a distance that far, the actors used masks to act as a microphone to spread the sound of the actor's voice further. The masks, themselves, were constructed from hardened liquid stone and varied in design aspects such as whether they had open ears or an open mouth. Modern engineers have replicated these masks by creating mannequins that resembled the mask form and produced the type of sound that had come from these actors. The measurements they took produced a set of h<sub>θi</sub>(n) of discrete time impulse responses measured for different angle intervals with the mask on the mannequin. From there, the group was able to determine the corresponding magnetite frequency responses. The final results indicated that mask has the properties of an angle-dependent acoustic filter and the acoustic radiation of the actor's voice was significantly enhanced for the off-axis scenarios. <br />
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Figure 2 is based on the measurements from the manikin and shows the polar patterns for the mask filter and the mask radiation for octave bands centered at 0.25,1,2,4 and 8 kHz.<br />
The acoustics of the theater of Epidaurus were flawlessly tuned for each performance. Any sound produced in the orchestra was reflected and scattered around the theater of the hard limestone surfaces and ultimately reached the audience's ears. The reflected energy reached the listeners with a very small delay of 40 milliseconds. At all positions of the theater the most significant frequencies of the male speech, with a pitch ranging from 125-140 Hz, first vocal harmonics, at 250-420 Hz, and formants, from 300 HZ to 3 KHz, were amplified while keeping the richness and color of each voice. Any sounds that were outside of those ranges were filtered out to avoid the early beginnings of feedback.<br />
In order to see the effects of theater's specific design and the use of the mask working together, engineers denoted h<sub>TIRθ<sub>jrj</sub></sub>(n) as the discrete-time impulse response of the "theater-filter" and measured it for azimuth angles θ<sub>j</sub> and distances of r<sub>j</sub>. This combined impulse response, CIR, was then denoted at h<sub>CIRθ<sub>ijrj</sub></sub>(n) The resulting formula is able to calculate the acoustic results in terms of gain.<br />
<ref>Kontomichos, Fotios et al. "The Sound Effect Of Ancient Greek Theatrical Masks". ICMC. Athens: N.p., 2014. Web. 6 June 2017.</ref><br />
[[File: Stage.JPG|x320px|left|thumb| Plane Measurement and Coordinates for Theater Source and Receiver Positions and Masks]]<br />
[[File: Mask.JPG|x320px|right|thumb| Schematic diagram ]]<br />
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===21st Century Sound Systems===<br />
{{Infobox<br />
|bodystyle = width:25em<br />
|image = [[File:Soundsystem.png|320px|alt=Image ]]<br />
|label2 = '''Description'''<br />
|data2 = Sound System Diagram (WIKI Commons)<br />
}} <br />
Since the time of the Greeks, technology has evolved and become more advanced. The invention of electricity has played a key role in increasing the volume and quality of the actor's vocals. Acoustics refers to the sound quality of a room in reference to the overall audio quality without any sound amplification devices such as microphones and speakers. When creating a theater, the ambient noise that is surrounding the building or room when there is no planned audio must be considered. The Greeks dealt with this by having their theaters located in the middle of nowhere, but in today’s times, that would be utterly useless and unfeasible. Who would want to go to a play or musical in the Sahara Desert? That is why today many theaters pad their walls and make sure the stage is covered by a sound-absorbing curtain, which also doubles as an object to hide the cast until ready. Modern actors may not have learned the proper way to project their voice so that the audience in the back can hear. Modern-day sound systems have let actors and actresses become more lenient with projecting their voices because, with the adjustment of a gain knob and the increase of a slider, their volume is magically louder. Along with the actors and actresses on stage, there are orchestra reinforcements to add to the mood of a performance. However, there is a delicate balance between the actors and actresses and the orchestra because louder does not mean better. It is important to know the difference between amplification and reinforcement or the show could go horribly wrong. Amplifying denotes that the volume of an actor, actress or instrumentalist is increasing. Reinforcement is all about moving sound to create the perfect environment which requires a subtle touch. Amplification is noticeable whereas reinforcement shouldn’t be. Today's sound engineer must also account for the sound of background noise created newer technologies such as HVAC systems<br> (Carver 364)<br />
====PA Systems or Sound Systems====<br />
For a basic sound system, there are three main areas: input, output, and processing. Inputs are quite simple. They are the microphones that are connected via wires or wirelessly to a mixing console. The mixing console takes those inputs and can make pre-amplification changes on the microphone level signals to line levels. The signal then goes through equalization. Different filters can be applied to each microphone. This is helpful for equalizing different voices such as a female voice versus a male voice. Low pass filters are used on male voices so that any noise that comes through the microphone outside of the specified frequency is negated. Similarly, a high pass filter is used for female vocals. Level control is then used to process the signal and send it to the output. The output of a console is an amplifier, most commonly a speaker. The speaker converts the signal that is received into sound waves that people can hear and hopefully enjoy. Sound equipment has many variations. Inputs can include microphones (wireless, lavier, wired, wireless mic packs), contact pickups, magnetic pickups, laser pickups and optical pickups. Signal processors can include reverberation, delays, and amplifiers. Outputs can be loudspeakers (subwoofers, woofers, midrange, and tweeters) and headphones. The most important part is choosing the right equipment for the right show and location as well as speaker placement. For example, subs and heavy bass would not typically be used for a ballet. (Carver 366-367)<br />
====Microphones====<br />
{{Infobox<br />
|bodystyle = width:25em<br />
|image = [[File:Mic.JPG|320px|alt=Image ]]<br />
|label2 = '''Description'''<br />
|data2 = Different Types of Mics (WIKI Commons)<br />
}} <br />
The most basic function of a microphone is to pick up the sound and convert that acoustic sound to electrical energy. There are two main groups of microphones, dynamics, and condensers. Dynamic microphones are versatile, reliable, durable and, most importantly, affordable. The SM57 and SM58 are able to handle anything that life throws at it. The SM58 is used widely as a microphone for vocalists and is most notably identified by its ball grille. The SM57 is more for instrumentalists and can have a windscreen for heavy wind or breathing. Both the SM58 and SM57 are very similar in design and range and can be used interchangeably. Condenser microphones are more likely to be seen in theaters because they have an extremely versatile range. These microphones are quite special because they need 48-volt phantom power. On most mixers, the sound person must switch on phantom power to the assigned microphone. There are various styles of microphones because a handheld mic may not appeal to everyone. A lav or lavalier mic is very small and can be placed on a person’s shirt or in a person’s wig/hairline. Contact pickups are similar to microphones and are attached to instruments to pick up the sound through its vibrations. Pressure-response microphones are also used for instruments. They are mounted on a flat surface with an attached plate that increases gain.<br />
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Impedance of a microphone refers to the amount of resistance a microphone has to an audio signal. The lower the impedance, the less issues a microphone may have when using a longer cable and dealing with noise interference. Typically a lower impedance means a better-quality microphone, therefore a perfect choice for theater.<br />
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Gain deals with the amplification of a microphone through a sound system. If set up properly, meaning the system, microphones, and speakers, gain can be maximized. Handheld microphones have more latitude when it comes to gain versus its wireless counterpart. However, as the technology has gotten better, lavalier microphones have gotten smaller and better, but at a very high financial cost. Lav mics can be seen almost everywhere such as in theaters and on television news shows. The loop is sized for the person’s ear and a piece of tape is placed on their cheekbone and behind their ear. The pack is the hidden in the shirt making sure the person has enough neck room to not pull the mic off. <br />
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Area micing is a technique used for large bands or choirs. An array of floor microphones is placed on the ground and the board operator increases or decreases the gain as needed. For this, it is better to use an odd number of microphones which will provide the most options of which microphones to use at any given time. (Carver 364-368)<br />
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====Mixing Consoles====<br />
{{Infobox<br />
|bodystyle = width:25em<br />
|image = [[File:Mix.jpg|320px|alt=Image ]]<br />
|label2 = '''Description'''<br />
|data2 = Digital Mixing Console (WIKI Commons)<br />
}} <br />
All consoles work on the same concept. They take inputs, process the signal via equalizing, delays and reverberation, and transfer the audio to outputs. Each console is different with a given number of inputs and outputs as well as limits to the types of adjustments one may make to the audio signal. There are two types of consoles, analog and digital. Analog boards come in a range of sizes. Examples include the Mackie 1402VLZ4 14-Channel Compact Mixer and the GL4000. The drawback of these boards is that there are no equalizers, delays, or special effects, which are available on digital boards. Digital boards are the newest in sound engineering technology and are continually being developed. Digital consoles can be more flexible. Some digital boards have mobile device applications that allow a person to control the board from the stage instead of from front of house making equalizing easier and faster. (Carver 370)<br />
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====Speakers and Headsets====<br />
There are four types of speakers: tweeters, midrange, woofers, and subwoofers. Tweeters are meant for producing sound in the high-frequency range. Midrange speakers are designed to reproduce sound at midrange frequencies. Woofers are for low frequencies and subwoofers are to produce sounds at very low frequencies. Subwoofers are usually the speakers that make the floor shake at a dance party. Line arrays are groups of speakers that are hung vertically or horizontally. They have a very narrow spread of sound per speaker. Wedges or monitors are used by most musicians and vocalists so they can hear themselves throughout the performance. Selected sounds are mixed through the soundboards and then output through each wedge. Positioning the speakers is key because some speakers only have 90-degree dispersion. <ref>Mellor, N. (2017). Speaker Off Axis: Dispersion Specifications and Off-Axis Response Plots - Acoustic Frontiers. Acoustic Frontiers. Retrieved 18 June 2017, from http://www.acousticfrontiers.com/dispersion-specifications-and-off-axis-response-plots/</ref>The best positioning for these speakers is in pairs facing the corners of the space diagonal to them. <br />
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Headsets are used for stage managers and other run crew to know what is going on. They allow communication between the groups. Different groups can be on different channels like handheld radios. Clear-com is the most popular and is easily setup using XLR to the control box. It comes in wired and wireless versions. (Carver 371-377)<br />
<ref>Carver, Rita Kogler. Stagecraft Fundamentals. 1st ed. Boston: Focal, 2009. Print.</ref><br />
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==Costumes==<br />
=== History and Method ===<br />
Costumes are very important in transforming an actor into the character they are playing. Costumes are also used to set the scene of the play. For example, Victorian Era costumes will make the show appear to be set in the Victorian Era. Costumes have been used since the ancient Greeks and Romans. Greek theater was a sacred place and often sacrifices were made on the altar in the center of the stage before the show. A show would take place once a year on a day of celebration of the god worshiped in the temple. According to the Greek culture, the god would be present the whole day of the show and the performance was considered a sacred duty which was paid for by the wealthy. In order to act in the play, the actors had to be totally pure for they were channeling their character. Actors would use a staff and wear a wreath to convey this. The actors would wear red ornamental cloaks and stone masks that belonged to the treasure or the sanctuary, these were early [[Theater in London#Props| props]] (Stricker, 1955) (Bieber, 1971)<ref> Stricker, B. (1955). The Origin of the Greek Theatre. The Journal of Egyptian Archaeology,41, 34-47. doi:10.2307/3855235</ref>. <ref>Bieber, M. (1971). The History of the Greek and Roman theater. Princeton: Princeton University Press. </ref> Not only did the actors have to be in a state of purity, only the clean and pure public could attend this performance. They too would wear decorative cloaks and wreaths to celebrate the sacred day. Costumes were very important to conveying the story due to the fact that it would reveal the gender and social status of the character. Costumes in the Roman theater overlapped quite a bit int that a cloak’s color denoted the status and sex or the character. They also wore masks. During the Elizabethan Era, clothing played a significant part to one's status in society. There were many laws dictating what a person could wear, so many plays had their actors wear clothes of the vernacular for the character. Therefore, the actors of queens and kings wore costumes that reflected that status and those of less important roles wore their own clothing. For plays that took place during the Roman and ancient Greek eras, actors wore togas over their normal clothes. Since costumes were very expensive, many companies reused old costumes (Costumes and Cosmetics, 2013, p. 1) . <ref> Costumes and Cosmetics. (2013) (1st ed.). London. Retrieved from https://www.shakespearesglobe.com/uploads/files/2014/01/costumes_cosmetics.pdf</ref><br> <br><br />
[[File: times-square-1457783_640.jpg|x250px|right|frameless|thumb| Major NY Shows]]<br />
Today costumes are designed by costume designers, who work closely with the director to make the director’s vision come to fruition. They often need to do a lot of research into who the character is and what time period he or she comes from. This research creates an authenticity to the character. A character wearing a crop top and a pair of short shorts would not be taken for women of status in the Victorian Era. The costume creates the character and that costume is iconic. Who would Glinda from "Wicked" be without her extravagant happy dresses? The costumes are more than just the clothing the actors are wearing. They include the shoes and accessories that are paired with the outfit. Costumes are meant to be used as an extension of the actor, which means that if two characters are polar opposites, their outfits will be totally different. It adds to the depth of the character. The costume designer then creates sketches of their proposed idea to share with the director. These costumes are then either approved or sent back with critiques. After the costume designs are approved, there is a lot of work to be done (Nusim, 2017) (Landis, 2014). <ref> Nusim, R. (2017). Character by Design (1st ed.). ACADEMY OF MOTION PICTURE ARTS AND SCIENCES. Retrieved from https://www.oscars.org/sites/oscars/files/costumes_and_makeup_activites_guide.pdf </ref><ref> Landis, D. (2014). COSTUME DESIGN DEFINING CHARACTER (1st ed.). The Oscars. Retrieved from https://www.oscars.org/sites/oscars/files/teachersguide-costumedesign-2015.pdf</ref><br />
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===Fabrics===<br />
[[File: towel-1838210_640.jpg|x250px|right|frameless|thumb| Different Fabrics]]<br />
Costumes come in many different shapes, sizes, and fabrics. This is one of the first things a designer has to think about when designing a costume. The material can affect the character’s movement, the actor’s comfort, the time period, and so much more. Fabric choice comes with much consideration and it is very difficult to choose with so many different fabric choices. One of the first fabrics of choice is wool. It is a fabric known for its warmth and itchiness, which is made from a variety of sheep furs. Even though many find wool to be itchy, wool comes in a variety of different types and not all of them are itchy. The fabric is very spongy and an insulator, but the reason many like wool is its ability to absorb up to 30 percent of its weight in water and not feel wet. Along with its water holding ability, wool is also dirt, tear, and flame resistant. This fabric may be worn by a character who is a sheep farmer in Ireland. Another natural and widely used fabric is cotton. It is a light, cool, and soft material that is used often. Cotton comes from the cotton plant and is stronger wet than dry. It can withstand high temperatures and is more breathable than wool. Silk is another fabric used in theater. It is a natural fiber that is spun by silkworms and is considered a fabric of wealth and success. Silk absorbs moisture in the summer and is warm in the winter, which makes it perfect to wear on stage. Due to its ability to retain moisture, silk is easily dyed and shapes well to a person’s body. Linen, not to be confused with cotton, is another widely used fabric. It is produced from the fiber of the flax stalk and is two to three times stronger than cotton. Linen has a unique luster that comes from its inherent nature and is easily dyed. Other fabrics that are synthetic and likewise also cheaper include polyester, rayon, acetate, and nylon. They have many of the same characteristics of natural fabrics, but they are less natural and prone to wrinkle, stain, and shrinkage (Caver, 2012, p. 306- 309).<ref>Carver, Rita Kogler. Stagecraft Fundamentals Second Edition: A Guide And Reference For Theatrical Production. 2nd ed. Burlington, MA and Jordan Hill, Oxford, UK: Focal Press, 2012. Print. </ref><br />
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===Tools, Accessories, and Sewing === <br />
Once the fabric of the costume is chosen, the fabric(s) has to be put together by sewing or other methods. In order for the fabric to be transformed into a costume, the seamstress must be familiar with the tools necessary to create a costume. Tools such as measuring tapes and patterns assist the costume designers to accurately take the measurements of the actor or actress. Once the measurements for the garment are determined, the designer will start working with either a pre-existing pattern or creating a pattern from scratch. A pattern is a template on which a garment can be cut from to form the specific shape desired. They are often made of paper and traced onto the fabric. To create new patterns, patterns may be combined or a sloper tool can be used. Sloper tools provide generic shapes that can be modified to form a new pattern. After a pattern is created, it is pinned to the fabric and then cut by sewing scissors. These scissors can cut fabrics fast with their adjustability and are therefore more expensive than arts and craft scissors. The next step of the process is sewing the pieces together, which can be done with different types of thread that have as great a range as fabrics do. The chosen thread needs to have similar properties to the fabric. To make the costumes unique and complete, accessories such as belts, buttons, and zippers are added. They can change a one-dimensional costume into one fit for a king or queen, but these accessories must be kept organized in order for them to be found in a timely fashion. Some other important tools are seam rippers, which can cut a seam when a stitch needs to be undone without damaging the fabric, and tailor’s chalk, which is used make marks on fabric. (Caver, 2012, p. 309- 317). Finally, after all of these steps have been completed, the fabric can be sewn together to create the costume. Most costumes are sewn by sewing machines, with intricate details sewn by hand. Some of the stitches sewn are quite easy, however many are difficult and require much skill. One commonly used stitch is the overlocking stitch. It is used to combine two edges of the fabric to create a hem on the inside that appears seamless when flipped inside out. The overlocking stitch is considered to be very versatile with it being used for everything from decoration to reinforcement to the construction of a fabric. Once the costumes are completely sewn they are then fit to the actor or actress to ensure a total fit. Interestingly, more complex costumes are initially made of muslin, a very inexpensive fabric, and are fitted to the actor so that the exact measurements can be used during the construction of the real costume. The creation of a costume is a multifaceted process that takes a design from paper to real life. It is difficult, but costumes are essential to a show for they aid the viewer in imagining and fitting the actors or actresses into the roles they play (Caver, 2012, p. 323- 334) <ref> Carver, Rita Kogler. Stagecraft Fundamentals Second Edition: A Guide And Reference For Theatrical Production. 2nd ed. Burlington, MA and Jordan Hill, Oxford, UK: Focal Press, 2012. Print.</ref>.<br />
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===Types=== <br />
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Costumes have come a long way from dresses, togas, and suits. As culture has invited new and exciting shows to the theater, costumes have had to change with the culture. Today’s theater productions have definitely proven to be a challenge for costume designers. There is now a myriad of shows of different time periods, themes, and ethnicities, which can be seen by the 2017 Tony nominees and shows that are currently popular. A prime example would be the Tony-winning "Natasha, Pierre & The Great Comet of 1812", which is an excerpt from Leo Tolstoy’s "War and Peace" about the affair of Natasha with Anatole and Pierre’s existential search for meaning <ref> S. (n.d.). The Great Comet - Official Broadway Site. Retrieved June 13, 2017, from http://greatcometbroadway.com/</ref>. Natasha is a charismatic young Russian woman of status engaged to marry her beloved fiancé Andrey, but while he is away at war she is sent to live with a godmother where she is seduced by an unknowingly married man. Natasha’s costume is white for innocence and is fitting of women of status in Russian during the early 1900’s. All of the costumes are a mixture of timepieces with modern clothing. This can add the idea that "War and Peace" is not just a very long novel with little to do with society today. Natasha’s story is a timeless tale of love, lies, and scandal, so the costumes must accent the characteristics of the characters and make them believable. Another Tony Award-winning show that has a completely different costume design is "The Lion King". "The Lion King" is a very different show about finding one's identity and is loosely based on Hamlet. This is a very difficult show to design for because the characters are animals. It is very hard to mimic the movement of an animal, so the designers worked to make costumes move with the movement of the actors and dancers. They utilized both masks and puppetry to create the movement of many of the animals. Timon and Pumbaa are life-size puppets that are connected to the actors. These shows show the great range of costumes that exist today in theater and the different styles and techniques used. <br />
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===Current Practices===<br />
Tours of the [[National Theater]], [[Royal Opera House]], and Royal Shakespeare Company gave insight into how costumes are currently dealt with. The trend is that the costumes department is divided into sub-departments. These subdepartments take care of creating the costumes, caring for the costumes during their show's run and managing them after the show has finished. During a production, the costumes must be cleaned after performances to keep them in good condition for the actors. This is especially important when a costume is dirtied during the performance. If the character gets a blood stain during the show, it cannot be there at the start of the next performance. In addition, any damage such as a tear in a costume must be repaired. After a show, the costumes are typically labeled with the name of the show they were from, the actor who wore it and the character they played. These costumes are organized and stored in the theater company's costume shop. The costumes can be rented by theater companies, film companies such as the BBC and sometimes the public for use. This enables more money to be earned back from the costs of the show. The Royal Shakespeare Company occasionally has auctions that are open to the public where the costumes are sold off for under £75.<br />
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== Hair and Makeup==<br />
===History and Design ===<br />
Makeup was not used in Greek and Roman theater due to the fact that the masks that they wore were designed to portray the emotions and character traits the characters had. (ref) It was not until the time of Queen Elizabeth that makeup was frequently used. The makeup of the actors was very important due to the fact that not only did it create the character, it also disguised their identity as a man. The actors were painted with white face makeup that sometimes consisted of a mixture of vinegar and white lead, “ceruse”, which was highly poisonous. The white was important because it represented the faces of the rich and royal due to the fact that they did not have to go outside to work. The standard for beauty was a pale white complexion, bright red cheeks and lips, kohl lined eyes, and a blond wig. This would usually be put on a young boy when he was transformed into the character of a beautiful young woman. To make characters shimmer, like characters in Shakespeare’s “A Midsummer Night’s Dream”, crushed pearls and silver would be applied to their makeup (Costumes and Cosmetics, 2013, p. 2) <ref> Costumes and Cosmetics. (2017) (1st ed.). London. Retrieved from https://www.shakespearesglobe.com/uploads/files/2014/01/costumes_cosmetics.pdf </ref>. Modern stage makeup did not really appear until the 1920’s and 1930’s and was started by Max Factor. Max Factor was the person who coined the term makeup and his son was credited with many innovations in makeup. They started the lip gloss, cake makeup, pan-stick makeup, the original cover-up makeup, and the first waterproof makeup (Carver, 2012, p. 339) <ref> Carver, Rita Kogler. Stagecraft Fundamentals Second Edition: A Guide And Reference For Theatrical Production. 2nd ed. Burlington, MA and Jordan Hill, Oxford, UK: Focal Press, 2012. Print. </ref>. Today stage makeup is created by many companies and comes in a variety of different shapes and sizes. They are used in a myriad of different techniques to achieve looks that portray different time periods, people and in some cases animals. The makeup signifies the character’s health, age, and liveliness and also adds to his or her illusion. Together the costume designer and hair and makeup designer work together to flush out and create a cohesive look for the character they are creating. With enough makeup, one can create themselves into a person they are not. An actor can be given an older, younger, sicker, healthier, prettier, plainer, or clearer look. People tend to go heavier on makeup when doing stage makeup than everyday makeup due to the fact that stage lights wash out a normal skin color making it much lighter (almost sheet white). This makes it hard for viewers at a distance to see the fine details of the makeup. To have an effective makeup design, the makeup must project the character to the audience (Gillette, 1999, p. 432-434) <ref> Gillette, J. M. (1999). Theatrical design and production: an introduction to scene design and construction, lighting, sound, costume, and makeup. New York, NY: McGraw-Hill. </ref> <br><br />
When designing makeup, one must keep in mind that they are changing the actor into the character. They have to do a great deal of research to get the character right because it is easy to spot what character is out of place. It was said by Richard Corson that the “makeup suggests genetics, environment, health, disfigurements, fashion, age and personality” (Gillette, 1999, p. 432) of the character. Therefore, it is important to accurately represent the character through their makeup. Makeup can also indicate if a person has been exposed to the elements based on the skin’s color and texture. One can also see if the character has deformities, both accidentally and genetically, which add to the personality of the character quite a bit. A rule of thumb for eccentric makeup is that if the character is eccentric then make it eccentric, if not then stick to the time period. When creating characters of different ages, younger skin tends to have better color with a firmer feel and older skin has a looser feel with less color and more wrinkles. The personality of a character is also portrayed in the makeup with a happier person having smile lines and a grumpier person having a perpetual frown. These are all good things to keep in mind when doing the makeup design and aid in achieving the look that is trying to be accomplished (Gillette, 1999, p. 432-434). <br><br><br />
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===Facial shapes===<br />
Facial shapes have great importance when doing makeup due to the fact that faces are always balanced. Therefore, the makeup must be balanced with the face as well. Faces come in in six different classes of shapes, which are pear, oval, heart, long, round, and square. Depending on one’s facial shape, makeup should be applied differently to highlight its features. Oval faces are considered to be perfectly symmetrical due to the fact that it is wide at the cheekbones and slopes down to a more pointed chin. The heart shaped face is much more different due to the fact that the top of the face is more rounded and then it has a more pointed or triangle shaped chin. It is also known as a triangle face shape. A pear-shaped face is much like a pear. It has a smaller forehead with a gradually larger face down to a wide chin. The square facial shape is the most common face shape. It has more of an oblong shape until the chin, where it’s more like a tilted right angle. A round face shape is very similar to an upside down pear shape face, but the chin is more rounded. The last face shape is the long face shape which is like an elongated oval face shape with higher cheekbones. The face shapes of the actors are necessary for a makeup designer to know when designing a character's makeup as it determines what parts of the face gets highlighted or shadowed. It‘s also important to know other faces when changing a person’s face shape to fit a character (Carver, 2012, p. 340). <ref> Carver, Rita Kogler. Stagecraft Fundamentals Second Edition: A Guide And Reference For Theatrical Production. 2nd ed. Burlington, MA and Jordan Hill, Oxford, UK: Focal Press, 2012. Print. </ref>. <br> [[File: face.JPG|x250px|center|frameless|thumb| |caption = Various Face Shapes (Carver, 2012, p.340 FIG.13.1)]] Various Face Shapes (Carver, 2012, p.340 FIG.13.1) <br><br><br />
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===Tools=== <br />
Makeup tools are very important to creating a character’s look due to the fact that they are what is used to transform the actor's face into the character's face. Makeup artists utilize brushes of different sizes, shapes, thicknesses, and styles. They all have a purpose and a designer will have many. Flat brushes are very good for blending colors together due to the fact it gives you a great amount of control when adding and removing pigment. An angle brush is really important for doing eye shadows and precise lines near or around the eye. Dome brushes are really good for blending and applying concealer under a person’s eyes whereas round brushes are good for eyeshadow and brows. There are detail brushes and powder brushes which add small details and blend well. Foundation brushes are used to apply and smooth foundation, which covers the majority of the face. The last brush to be covered is the contour brush. This brush is used to highlight and shadow the face so the person looks like they have higher cheek bones. It is also used to reconstruct the face to the right face shape. It is apparent that there are many brushes with different purposes and different artists have different uses for any given brush. They are all correct though! People have different uses for different brushes. Brushes are not the only tool that makeup artists use. Artists use spatulas to apply scar wax and thicker products, which is mixed with a plastic palette. A powder puff is usually used to apply powder or blot. Different types of sponges are used to blend and apply crème makeup. As a rule of thumb, the more porous the sponge the more texture is going to be applied to the skin. These are just some of the tools makeup artists use and there is much more to explore. (Carver, 2012, p. 341- 343) <ref> Carver, Rita Kogler. Stagecraft Fundamentals Second Edition: A Guide And Reference For Theatrical Production. 2nd ed. Burlington, MA and Jordan Hill, Oxford, UK: Focal Press, 2012. Print. </ref>. <br><br><br />
<br />
=== Types of Makeup===<br />
====Cake Makeup==== <br />
This is the most commonly used type of makeup and it comes in both dry and moist compacts of pigment. They come in a variety of colors and shades matching every skin color. Cake makeup additionally comes in a variety of highlights and shadows to contour the actor’s face. To apply this makeup, artists moisten a makeup sponge or brush and then wipe it across the cake. It is then applied to the face. However, if the sponge is not wet enough the makeup won’t apply. If the sponge is too wet, the makeup will be too opaque. An actor should have a clean face when this is being applied. Usually, the highlights and shadow are applied over the foundation, but to get a more muted effect it can be placed under the foundation. Cake makeup does not need setting powder to prevent the makeup from smudging and sweating off (Gillette, 1999, p. 436-437). <br><br />
<br />
==== Crème Makeup====<br />
Crème makeup is a non-greasy makeup that is often applied with a sponge, brush, or fingers. Unlike cake makeup, crème makeup does not require a damp tool. It can be used with cake makeup, but it does require setting powder. For easier usage, this makeup comes in sticks and crayons (Gillette, 1999, p. 437-438).<br><br />
<br />
==== Liquid Makeup ====<br />
This makeup is not usually used for the face, but for the body. The use of a name brand theater makeup is not necessary because store bought types work just as well. One drawback of this makeup is that it dries more quickly than other makeups, which makes it difficult to blend when more than one color is used (Gillette, 1999, p. 439). <br><br />
<br />
==== Dry Makeup ==== <br />
Dry makeup is classified as makeup that is dry when applied. This makeup is not usually used as a standalone makeup. It is usually used in conjunction with greasepaint and cake makeup. A common dry makeup is face powder, which is used to set a face. Though, if in a pinch, it can be used as a quick foundation. Any excess is dusted off with a fluffy brush (Gillette, 1999, p. 439). <br><br />
<br />
==== Greasepaint ====<br />
Greasepaint was the first form of makeup before good quality crème and cake makeups were created. It was originally the most commonly used face makeup. It is quite translucent and available in a multitude of colors. It is applied with the fingertips and stippled to create a multidimensional layered effect, however, each layer needs to be set with setting powder. It clogs the pores and makes the person sweat even more than normal when under the bright lights of a stage (Gillette, 1999, p. 439). <br />
<br><br />
<gallery mode="packed"><br />
Image:makeup-brush-1746322_640.jpg|''Brushes''<br />
Image:creme.JPG|'' Ben Nye crème foundations (Carver, 2012, p.340 FIG.13.9)''<br />
Image:cosmetics-259181_640.jpg|''Highlighter and Brushes''<br />
</gallery><br />
<br><br><br />
<br />
===Application technique===<br />
==== Highlights and shadowing====<br />
To create a multidimensional look, makeup artists take advantage of shadowing and highlights. They are used to make a person look older, younger, sicker, or healthier. Contrasting colors, such as brown and bright ivory, are used to draw attention to one part of the face while reducing attention on another part. One can create harsh angles by making harsh lines and smooth harsh lines by blending lighter colors (Gillette, 1999, p. 440-441). <br><br />
<br />
==== Stippling ====<br />
Stippling is the act of dabbing or patting makeup rather than stroking it on the face. It is often done using a brush or sponge and it roughens the texture of the skin. The appearance of larger pores are produced by a larger pored sponge and can also be used to create the look of acne. To create a more natural look two or more colors are stippled together. If a shadow or highlight is too heavy it can be stippled with a base to create a natural look (Gillette, 1999, p. 442). <br />
<br><br />
{{Infobox<br />
|title = Power of Makeup<br />
|bodystyle = width:20em<br />
|image = [[File:nvo.JPG|x450px|alt=Milestone Image]]<br />
|label1= Thanks to<br />
|data1= [[User:Nbloniarz|Natalie Bloniarz]]<br />
}}<br />
<br />
===Special Makeup ===<br />
Sometimes an actor does not have the same exact features of the character they are playing. When this is the case, products such as nose putty, derma wax, latex, and prosthetics are used to modify the actor's features and achieve the character's appearance. Not everyone has a crooked nose or a facial scar so makeup artists must get creative when a character does have an irregular feature. Nose putty is used to give a different shape to the actor’s nose, chin, or other inflexible facial feature. The putty is shaped onto the face of the actor and is glued onto the skin with spirit gum to create more security. It is then painted with makeup to match the skin tone and stippled to give texture. Derma wax is similar to nose putty but is does not adhere as well so spirit gum is absolutely necessary for adhesion to the face. It is more easily molded and adding cotton adds to its structure. It is painted similarly to nose putty. Latex is one of the more used special effects because it can be used to make bald caps, eyebrow masks, and wrinkles. However, the drawbacks of latex include that it is difficult to remove and, if applied to hair, the hair must be shaved off and people can be allergic to latex. Latex does create a nice smooth layer that can be built up with makeup though. When creating these parts are too much, prosthetic noses, chins, and others pre-made features can be purchased. They are sometimes needed to complete the look (Gillette, 1999, p. 443-50). <br><br><br />
<br />
===Hair=== <br />
Hair styling finishes off a character's appearance. Often use wigs are used to achieve the character's hair, but sometimes the actor’s actual hair is styled too. The hair style must match the style and length of the time period to create a believable and authentic character. The hair can be dyed, curled or braided to match the time period. If the character is a flapper from the 1920’s then she would have a bobbed hairstyle and a man of the same time would have a slicked back middle part. It takes a lot of research and time to create the perfect look for the character’s hair. <br><br><br />
<br />
==Poster & Promotion==<br />
Theater advertising is an often neglected area of study but critical to putting on a show. After all, there is no show without an audience to see it. The promotional methods were influenced by the technology of the time. During the Middle Ages, the most effective advertising was word of mouth. The performers and town criers would announce performances to the town. Additionally, the sound of drums and trumpets were used to indicate a performance. Descriptions of the show were also written out, given to people and attached to posts in the town. This led to the name poster. At the time of early theater in London, printers started to be given licenses to print playbills or posters for shows. These were handed out to people. In addition, there would be a drum procession through town and a flag raised at the theater to indicate a show. Just before a performance, a trumpet would sound three times. As printing technologies improved over time, so did the posters. Actors also started to expect their names to appear on these posters. Circuses led a new development for these posters. They introduced using illustrations as it was a natural way to promote with all the animals present. Introducing images to posters created new appeal and draw for those who were illiterate. The next advancement was the introduction of color to the illustrations. The posters became an art form. They started creating larger advertisements created by printing the design across many pages and posting them all up together in the proper configuration, like a puzzle. Posters grew so important that stock posters were developed for popular shows. The quality of the posters improved as the technology did but experienced little improvement during the World Wars. The Pop Art movement brought life back to the posters. Advertisers started bringing in television stars to create more draw. Posters would feature iconic images that could also be used for marketing. While posters are not as important as they once were, they are still a key part of advertising for performances. <ref>Theatre posters. Retrieved from http://www.vam.ac.uk/content/articles/t/theatre-posters/</ref> Walking around London, posters for the current shows are hung everywhere. They line the underground stations. The West End also serves as its own advertising. Walking through the area, the buildings are plastered with billboards and posters displaying what is showing. There is also a free guide that is distributed called the Official London Theatre Guide which began in 1922. It contains information on all of the upcoming shows as well as theater and tourist information. E-marketing is also important. Online advertisements can create a draw. Subscribers may receive notification emails about shows and offers as well as an e-newsletter. After all this time though, word of mouth still remains powerful. The hype created for shows such as "Wicked", "The Lion King", and especially "Hamilton" right now, draw in audiences and create high demand for shows.<br />
<br><br><br />
<br />
=Section 2: Our interpretation of The Play that Goes Wrong =<br />
<br><br />
''The Play that Goes Wrong'' is a hilarious play that follows a production group attempting to put on a play called ''Murder at Haversham Manor'', a 1920's murder mystery. However, Cornley Polytechnic Drama, the group putting on the murder mystery, has had a difficult time with prior shows, so the expectations are set pretty low for the play they are producing now. Due to the fact that this a play inside of a play the stage tech are seen scrambling to fix things and become part of the actors. The stage tech also interacts with the audience the whole time giving the feeling that you are watching the ''Murder at Haversham Manor'' and all of the mess ups that an unprofessional and accident prone theater may face. For our deliverable, we explored the scenic, lighting, sound, costume, makeup, and promotional aspects that went into the performance we saw on "The Play That Goes Wrong" and created our own interpretations of how to put on the show in regards to each department. These interpretations are largely based on what we saw at the performance, what worked and what we felt could be improved as well as the research we did in our background.<br />
<br><br><br />
==Scenic==<br />
[[File:Stage Right- sm- JR.JPG|thumb|right|x500px]]<br />
Designing the set for "The Play That Goes Wrong" is a unique process because it is a play within a play. As the designer for "A Play That Goes Wrong" the overall set design must be considered. However, the show is a performance of an amateur theater company attempting to perform a show. Therefore, to establish the set on the visual level, the designer must act as the designer for that company. The set must be designed to look like it was designed for the murder mystery show. Furthermore, it must reflect the styles and resources of the amateur theater group. Therefore, the set would appear to be low budget and not a refined, high quality. For this part of the design, I am basing the set on the board game Clue as it is a classic example of a murder mystery that many people can recognize. Once the basic visual design of the set is established based on the murder mystery play, design considerations for "The Play That Goes Wrong" must be looked at. This includes all of the special effects that are used to make it look like the murder mystery play is going terribly wrong. The most important tool we will be using is electromagnets. Throughout the show, the set literally falls apart. Wall hangings fall down, the second story floor collapses and the walls themselves fall down. We plan to achieve these effects through the use of electromagnets that can be turned on and off. When, for example, a wall decoration should be hanging, the magnet will be turned on. When it is time for the decoration to fall, the magnet can simply be turned off. This enables simple, on-demand control of the set failures. From a booth, the magnets can be switched on and off and perhaps even integrated into the cue system. When the second story floor collapses, the fall is controlled by mechanics behind the set. The platform is supported by cantilevered beams. Backstage, these beams are held up in a system that lets them pivot and lock into place in several positions. The beams begin the show horizontal. When the floor first fails, the position can be released, and drop in a controlled manner through the use of a motor, into the next position it can lock into. This can be repeated as the platform continues to fall. In addition, the show makes use of a bit of pyrotechnics when the garbage bin catches fire. This would be the responsibility of specialists as fire is a safety hazard.<br><br />
Actually designing the set in Solidworks proved to be a good lesson in the difficulties of set design. In the model, it becomes very apparent how tricky it is to make sure every seat has a good view of the set. The proscenium arch itself quickly blocks out the view of the audience as they start to move off to either side. This requires the set to be further forward on the stage to improve visibility. Secondly, designing the side walls of the room quickly turned into an issue. In order to improve visibility, I turned the left wall out towards the audience. Instead of a 90 degree with the back wall, it is at an 118-degree angle. However, I realized the same could not be done with the other wall. This is because the floor of the second level has to be able to swing down but, if it is made with an angle greater than 90 degrees, it will not have clearance on the side. In addition, the same problem of visibility would occur that I sought to eliminate on the other side. That is also ignoring the fact that having one side turned out but not the other would create a very oddly shaped room. It is at this point that I revisited the original set. My set had already been based on it a bit, as the story line and set were closely related meaning that the set couldn't be changed too much and still have the lines and action work. The set pieces had to be able to fail certain ways in order to fit with the story. When I looked at the set again I realized how the designer played with perspective. The back wall was actually split into sections that enabled them to bend it so each side wall could be angled out without the back wall seeming warped. Therefore, set design is not nearly as simple as creating an image in your head of the scene and putting it on the stage. In the rendering of my simplified set, some of my ideas for modification to the original set can be seen. First of all, while the rendering does not contain all the details, the concept is still for the set to be less elegant than the original set. This fits with the theme that the theater company within the show is low budget and amateur. Secondly, the furniture and color scheme were inspired by the board game Clue. In particular, the couch was designed after couches seen on the board game in the lounge and study. The wall color was also based on the game and the light color is meant to keep the area appearing open and large as light colors make spaces seem larger.<br />
<br><br><br />
<br />
==Props==<br />
The props are very important to the show due to the fact that they add to the humor of the play within the play. The play itself is called ''The Play That Goes Wrong'' and that's what is shown to the audience. The missteps and malfunctions of the Cornley Polytechnic Drama group that go horribly wayward are captured. Below are some of the important props that make the show a comedic success. <br />
{{Infobox<br />
|title = collie<br />
|bodystyle = width:25em<br />
|image = [[File:dog-2286773_1280.png|x450px|alt=Milestone Image]]<br />
|label1= Painting prop<br />
|data1= royalty free image <br />
}}<br />
=== Picture of the Collie ===<br />
It may seem like an odd prop, but this picture is very important to some of the humor of the play. During the show, characters are interviewed by Inspector Carter to determine who killed Charles Haversham. When Cecil Haversham, the brother of the late Charles Haversham, is interviewed by Inspector Carter, the inspector looks at the picture above the broken mantel and asks if the picture of the dog is a portrait of the father. It is obvious that the wrong picture was put up during the set decoration and it shows how the production company producing the show is not at all organized. The conversation progresses and the detective asks if the recently departed Charles was the spitting image of his father, again depicted by the picture of the dog. I choose a picture of a silly looking dog to add to the funniness of the situation and allow the audience to try to picture the actor as a dopey looking dog. If I could get a picture made, I would have the dog holding a whiskey glass and playing cards. The prop has a magnet on it which keeps it attached to the wall and when the door gets shut at the end of the act all of the stuff hanging on the walls falls off by the disengagement of the magnets. This adds to the dysfunction of the show and makes everyone laugh. <br />
<br><br />
{{Infobox<br />
|title = "white spirit"<br />
|bodystyle = width:12em<br />
|image = [[File:glass-565914_640.jpg|x450px|alt=Milestone Image]]<br />
|label1= Drinkable prop<br />
|data1= royalty free image<br />
}}<br />
=== White Spirit and Whiskey bottles ===<br />
Fake alcohol is often used in theater to liven the mood and add to the plot. As said earlier, props can be something that is edible or drinkable on stage, so the “liquor” does count under the umbrella term of props. During the show, after Charles Haversham’s death, the characters decide to grab some of Charles’s whiskey to calm down. The lines say that the first bottle grabbed is empty but the actor grabs the full bottle so he pours it out. Then when the character grabs the bottle that is supposed to be full it is the empty bottle previously looked for. It is obvious that when the two bottles were placed they were switched or the actor got the bottles from the wrong places. Either way, the scene shows the cast and the production company’s incompetence. The murder mystery inside of the show is just so bad it’s funny. The next problem is that there is no liquor for the cast to drink during the following scene. Instead, the stage manager hands out a few glasses with a bottle of unknown “white spirit” that looks like some cleaning detergent. When the actors are forced to take a drink they all spit it out because of it, of course, tastes terrible. For these props, I will have two generic whiskey bottles, one full of a brownish liquid and one empty. For the “white spirit” handed to the actors as an alternative, I will have a glass bottle with a do not drink sign on it to make sure that the audience understands the mistake and why the actors are spitting the liquid out. <br><br />
{{Infobox<br />
|title = vintage couch<br />
|bodystyle = width:12em<br />
|image = [[File:couch-1952918_640.png|x450px|alt=Milestone Image]]<br />
|label1= Furniture props<br />
|data1= royalty free image<br />
}}<br />
=== Couch ===<br />
The couch is another classic piece of furniture used on the stage. The show takes place during an engagement party on a cold December night during the 1920’s. Therefore, the couch is in the style of that time period. The couch is at the center of the stage and it the center of the drama due to the fact that is where Charles Haversham’s body is found. There is nothing really special about the couch other than having collapsing legs. For the set, I would have a couch that looks like it’s from that time period and has it placed in the center of the stage to attract attention to it. <br />
<br><br />
{{Infobox<br />
|title = stretcher<br />
|bodystyle = width:25em<br />
|image = [[File:vintage-1636373_640.jpg|x450px|alt=Milestone Image]]<br />
|label1= Illusion Prop<br />
|data1= royalty free image<br />
}}<br />
=== Stretcher ===<br />
A stretcher is another weird prop to find on stage, but props are meant to have attention drawn to them. During the show, the stretcher is used to lift away the dead body, but this stretcher is from the 1920’s. It is basically two long horizontal poles with canvas that is sewn with holes to put the poles through. The funny part of the show is that, when the actors are trying to pick up the body, the two poles rip from the canvas leaving the body and the rest of the canvas under the body. The “dead” body Charles then grabs the poles with his arms and legs to be carried off the stage. It is really funny due to that fact that no matter what the actors do, nothing goes right. To create the stretcher, I would take two seven foot wooden poles and sew the canvas to fit around the poles with enough room to cradle a body inside. I would then have the base Velcroed so that it would imitate ripping when the body is lifted. <br />
<br> <br><br />
<br />
==Lighting==<br />
<br><br />
[[File:Lighting_The_Play_that_Goes_Wrong.jpg|500px|alt=Image ]]<br />
<br />
<br><br />
The lighting design for ''The Play that Goes Wrong '' is used to add to the comic timing and the absurdity of the play. As previously stated, the show is performed by an amateur theater company who has had several attempts at performing shows such as "Cats" and "James and the Peach" with each show resulting in failure. They are determined to make this show called, ''Murder at Haversham Manor'' a success. The wash for this play remains constant throughout the entire play and there are some attempts to make the lightning fancier with spotlights and flashes of red for dramatic effect. The stage is a stage on a stage, which sounds confusing. The diagram above displays what the stage looks like with the lights and their position on the batons and side mounting infrastructure. The scene of the play does not change and takes place in a living room and study on a cold winter's night as well as behind the set.<br />
<br />
<br><br />
Starting with the lights that are between the fake backstage and backstage, our plan is to use PAR 64 strip lights with ROSCO 81 Urban Blue with Diffuser. The Urban Blue color is a great color to imitate a very cold, brittle scene. There is a diffuser to dampen the coolness and imitate an amateur lighting designer's attempt at making the set cool. These lights will be shining straight downward creating the cool winter scene. For the wash, backwash and side wash, we will use the Source 4 PARNel WFL, the Source 4 PAR MFL and Chauvet LED PAR 64 fixtures. The WFL is to light the wide stage, but because they are to have a wide dispersion of light, the color will be lacking in color intensity. The MFL is also to light the stage; it will have a greater color intensity, but will only have a throw distance of the front of the stage. There will be ROSCO 02 Bastard Amber and ROSCO 4830 CC 30 Pink gels in the fixtures since these colors are excellent on every skin tone and create a happy, warm tone. We have several fixtures meant for spotlighting actors; the Q500NSP (PAR 56 NSP) and ETC 405 (5-degree Source Four). The ETC fixture is meant to spot someone centered on the stage and the QS500NSP is meant to spot someone who is on the left and right middle of the stage. These lights do not have gels because white light is sufficient to spotlight any character. The last two fixtures are the MAC TW1. These are dynamic fixtures meaning that they have a certain degree of rotation in the x and y-axis. They are able to track moving people and can display a CMY spectrum of colors. These will be used for the few scenes of attempted fancy lighting. The angles of the lights that are listed in the table below are only approximate; there is a high chance, that when the master electrician is hanging and focusing the lights, the angles will change.<br />
<br />
<br><br />
There are only a few scenes with "fancy lighting", so the rest is leaving the wash up on the set. These scenes include the opening of the play and during a scene in the beginning where the dead body is found. However, an actor doesn't make his cue and the effect is repeated two or three times as the entire cast repeats that there has been a murder. In the opening of the play, there is a spotlight where the "director" of the play is supposed to stand in to present his play, but he is only half in the light because he did not step forward enough to be in the light. We plan to use the ETC 405 fixture to shine a spot on the stage and have it focused so that we miss the actor. Our plan for the actor who is supposed to be dead on a couch is to use one of the MAC TW1 to shine a spot on him while he is still getting into his place. Lastly, when the cast says "murder", we plan to use both of the MAC TW1s to flash red on the group of actors on the center of the stage. <br />
<br />
<br><br />
===Lighting Details===<br />
{| class="wikitable" width="80%"<br />
! Name<br />
! Angle<br />
! Colour<br />
|-<br />
! scope="row"| Chauvet LED PAR 64<br />
| align="center"| 135<br />
| align="center"|ROSCO 02 Bastard Amber<br />
|-<br />
! scope="row"| Chauvet LED PAR 64<br />
| align="center"| 225<br />
| align="center"| ROSCO 02 Bastard Amber<br />
|-<br />
! scope="row"| Q500NSP (PAR 56 NSP)<br />
| align="center" |135<br />
| align="center" |No Need<br />
|-<br />
! scope="row"| Q500NSP (PAR 56 NSP)<br />
| align="center" |135<br />
| align="center" |No Need<br />
|-<br />
! scope="row"| ETC 405 (5 degree Source Four)<br />
| align="center" |0<br />
| align="center" |None<br />
|-<br />
! scope="row"| Par 64 Strip (WFL)<br />
| align="center" |0<br />
| align="center" |ROSCO 81 Urban Blue with Diffuser<br />
|-<br />
! scope="row"| Par 64 Strip (WFL)<br />
| align="center" |0<br />
| align="center" |ROSCO 81 Urban Blue with Diffuser<br />
|-<br />
! scope="row"| Par 64 Strip (WFL)<br />
| align="center" |0<br />
| align="center" |ROSCO 81 Urban Blue with Diffuser<br />
|-<br />
! scope="row"| Par 64 Strip (WFL)<br />
| align="center" |0<br />
| align="center" |ROSCO 81 Urban Blue with Diffuser<br />
|-<br />
! scope="row"| Par 64 Strip (WFL)<br />
| align="center" |0<br />
| align="center" |ROSCO 81 Urban Blue with Diffuser<br />
|-<br />
! scope="row"| Source Four PARNel WFL <br />
| align="center" |90<br />
| align="center" |ROSCO 02 Bastard Amber<br />
|-<br />
! scope="row"| Source Four PARNel WFL <br />
| align="center" |270<br />
| align="center" |ROSCO 02 Bastard Amber<br />
|-<br />
! scope="row"| Source Four PARNel WFL <br />
| align="center" |30<br />
| align="center" |ROSCO 02 Bastard Amber<br />
|-<br />
! scope="row"| Source Four PARNel WFL <br />
| align="center" |15<br />
| align="center" |ROSCO 02 Bastard Amber<br />
|-<br />
! scope="row"| Source Four PARNel WFL <br />
| align="center" |0<br />
| align="center" |ROSCO 02 Bastard Amber<br />
|-<br />
! scope="row"| Source Four PARNel WFL <br />
| align="center" |345<br />
| align="center" |ROSCO 02 Bastard Amber<br />
|-<br />
! scope="row"| Source Four PARNel WFL <br />
| align="center" |335<br />
| align="center" |ROSCO 02 Bastard Amber<br />
|-<br />
! scope="row"| Source Four PARNel MFL<br />
| align="center" |15<br />
| align="center" |ROSCO 4830 CC 30 Pink<br />
|-<br />
! scope="row"| Source Four PARNel MFL<br />
| align="center" |0<br />
| align="center" |ROSCO 4830 CC 30 Pink<br />
|-<br />
! scope="row"| Source Four PARNel MFL<br />
| align="center" |0<br />
| align="center" |ROSCO 4830 CC 30 Pink<br />
|-<br />
! scope="row"| Source Four PARNel MFL<br />
| align="center" |350<br />
| align="center" |ROSCO 4830 CC 30 Pink<br />
|-<br />
! scope="row"| Martin Mac TW1<br />
| align="center" |20<br />
| align="center" |No Need<br />
|-<br />
! scope="row"| Martin Mac TW1<br />
| align="center" |340<br />
| align="center" |No Need<br />
|-<br />
|} <br />
<ref>"Source Four ® 5 ̊ Ellipsoidal Series". Texas Scenic. N.p., 2017. Web. 14 June 2017.</ref><br />
<br><br><br />
<br />
==Sound==<br />
<br><br />
[[File:Sound_The_Play_that_Goes_Wrong.jpg|500px|alt=Image ]]<br />
<br />
The sound design for ''The Play that Goes Wrong'' is not very complex and was purposefully done this way. The cast is made up of only 8 members who have only spoken parts. There is one cast member, who acts as the sound board operator and director, who seems to wear a Clear-Com looking headset that does end up projecting through the speakers. Characters will each have a microphone pack that will be projected out through 4 speakers that are hung on vertical struts. These speakers will have 90 degree dispersion, with 45 degrees of dispersion on each side of the axis. Two of the speakers will be located at the front orchestra section mounted at 45 degree angles from where they are mounted. This will project the sound to the first level of the theater. The other two smaller speakers will be mounted on the wall at the front of the second level and will be lined up against the wall. The diagram above shows the design. <br />
<br><br />
In the show there are multiple sound effects that go off throughout the show. In the table below, the act, scene, name and file is presented. These are the sounds we would pick if we were to produce the show. We are using YouTube videos that were converted into MP3 files. The references section has the links to the videos.<br />
<br><br />
{| class="wikitable" width="80%"<br />
! Act <br />
! Name<br />
! Listen<br />
|-<br />
! scope="row"| 1<br />
| align="center"| Creaking Door<br />
| align="center"| <mp3player>File:WoodDoor.mp3</mp3player><br />
<ref>Wood Door Creak Open Sound Effect. (2014). https://www.youtube.com/embed/U3Hqd6fw-i8. </ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Door Slam<br />
| align="center"|<mp3player>File:DoorSlam.mp3</mp3player><br />
<ref>Door Slam Sound Effect (Download Link). (2012). https://www.youtube.com/watch?v=fNNhE0Cz2QY.</ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Dramatic Music<br />
| align="center"|<mp3player>File:Suspense.mp3</mp3player><br />
<ref>Suspense Sound Effects. (2016). https://www.youtube.com/watch?v=ziobtd9JTtk.</ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Flame Lighting<br />
| align="center"| <mp3player>File:Fire.mp3</mp3player><br />
<ref>Fire sound effect (3). (2011). https://www.youtube.com/watch?v=Zmw32wCGWuc.</ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Body Hitting the Ground<br />
| align="center"| <mp3player>File:Bodyeffect.mp3</mp3player><br />
<ref>Body Fall SOUND EFFECT - Körper fällt zu Boden SOUNDS. (2015). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Telephone Ringing<br />
| align="center"| <mp3player>File:Old_phone_-_sound_effect.mp3</mp3player><br />
<ref>old phone - sound effect. (2012). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Drawing Sword<br />
| align="center"| <mp3player>File:Draw_sword_sound_effect_(2).mp3</mp3player><br />
<ref>Draw sword sound effect (2). (2012). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Sword Clashing<br />
| align="center"| <mp3player>File:Sword_clash_sound_effect_(1).mp3</mp3player><br />
<ref>Sword clash sound effect (1). (2012). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Gun Shot<br />
| align="center"| <mp3player>File:MLG_Gun_Shot_Sound_Effect.mp3</mp3player><br />
<ref>MLG Gun Shot Sound Effect. (2016). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Crash<br />
| align="center"| <mp3player>File:LOUD_CRASH_SOUND_EFFECT.mp3</mp3player><br />
<ref>LOUD CRASH SOUND EFFECT. (2015). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Dramatic Music Repeat<br />
| align="center"| <br />
|-<br />
! scope="row"| 1<br />
| align="center"| Dramatic Music Repeat<br />
| align="center"| <br />
|-<br />
! scope="row"| 1<br />
| align="center"| ''Girls on Film'' by Duran Duran<br />
| align="center"| <mp3player>File:Duran_Duran_-_Girls_On_Film.mp3</mp3player><br />
<ref>Duran Duran - Girls On Film. (2010). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 2<br />
| align="center"| Dramatic House Music<br />
| align="center"| <mp3player>File:Open.mp3</mp3player><br />
<ref>🎹 Trevor DeMaere - Opening Stargate (DramaticEpic Orchestral Music). (2012). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 2<br />
| align="center"| Paper Scattering<br />
| align="center"| <mp3player>File:Papers_Falling_SOUND_Effect.mp3</mp3player><br />
<ref>Papers Falling SOUND Effect. (2016). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 2<br />
| align="center"| Clock Chiming<br />
| align="center"| <mp3player>File:Clock_chimes_12_Sound_Effect_(SUPERB).mp3</mp3player><br />
<ref>clock chimes 12 Sound Effect (SUPERB). (2012). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 2<br />
| align="center"| Knocking on Wooden Door<br />
| align="center"| <mp3player>File:Loud_Knocking_on_Door_Sound_Effect.mp3</mp3player><br />
<ref>Loud Knocking on Door Sound Effect. (2014). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 2<br />
| align="center"| Telephone Ring Repeat<br />
| align="center"| <br />
|-<br />
! scope="row"| 2<br />
| align="center"| Doorbell Rings<br />
| align="center"| <mp3player>File:Door_Bell_Sound_Effect.mp3</mp3player><br />
<ref>Door Bell Sound Effect. (2015). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 2<br />
| align="center"| Vase Shattering<br />
| align="center"|<mp3player>File:Glass_Vase_Shattering_Sound_Effect.mp3</mp3player><br />
<ref>Glass Vase Shattering Sound Effect. (2014). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 2<br />
| align="center"| ''Rio'' by Duran Duran <br />
| align="center"| <mp3player>File:Duran_Duran_-_Rio.mp3</mp3player><br />
<ref>Duran Duran - Rio. (2009). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 2<br />
| align="center"| House Music<br />
| align="center"| <mp3player>File:Duran_Duran_-_The_Reflex.mp3</mp3player><br />
<ref>Duran Duran - The Reflex. (2009). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
|} <br />
<br />
<br><br><br />
<br />
==Costumes and Hair and Makeup ==<br />
Costumes, hair and makeup are being based on 4 main characters in ''The Play That Goes Wrong''. The characters have hair, makeup, and costumes based on their attributes and the situations that they are in. <br />
<br><br />
<br />
{{Infobox<br />
|title = Annie <br />
|bodystyle = width:12em<br />
|image = [[File:unat.png|x360px|alt=Milestone Image]]<br />
|label1= Thanks to<br />
|data1= [[User:Nbloniarz|Natalie Bloniarz]]<br />
}}<br />
=== Annie === <br />
Annie is the company's stage manager who makes sure that the actors go on stage at the right time and that the whole backstage is taken care of. She can often be found around the stage trying to keep the show from falling apart. During the beginning of the show she can be seen fixing the broken set and she seems to be pretty well versed in the nuances of the stage and how to fix the stage. Her first costume would be her wearing a nondescript worn t-shirt and a pair of also worn jeans or overalls with a tool belt. This will give her the jack of all trades look. She would have little to no makeup on so as not draw any attention to her. Her hair would pulled up into either a ponytail or pigtails. Her second look (seen in the picture to the right) would be for when she has to take over the role of Florence Colleymoore due to an accidental head injury to the actress. They throw her on stage in the ill-fitting red flapper dress of Ms. Colleymoore, a slightly askew flapper wig right over top of her own hair with the ponytail or pigtails sticking out, and a hasty makeup job. The makeup is absolutely terrible and totally rushed. To achieve this look I first applied a base skin tone foundation and then added some contour on the cheeks to give them more definition. I put a darker concealer under the eye to give the impression of dark circles, which is the opposite of what is typically desired. The eyebrows were filled unevenly and eccentrically to show the haste in the makeup. The lips are smudged and overdone along with blush that covers too much of the cheek. Overall the look should scream overdone, rushed, and terrible, as seen in this picture.<br />
<br><br />
<br />
{{Infobox<br />
|title = Trevor <br />
|bodystyle = width:12em<br />
|image = [[File:mben.png|x360px|alt=Milestone Image]]<br />
|label1= Thanks to<br />
|data1= [[User: Bjsecino|Benjamin Secino]]<br />
}}<br />
=== Trevor ===<br />
<br />
Trevor is the company's lighting and sound operator who makes sure the lighting and sound cues go on during the right part of the script. He is a bit absent minded during the show and can be seen running around fixing things or missing his cues. During the show, he accidentally calls over his com to the audience his notes, which are noting the error on stage to the stage manager, so that the audience notices it even more. One can see him missing sound and lighting cues while he is looking at his phone. Trevor also loses his Duran Duran CD, which he plays as a sound cue by accident and the CD is found in the final scene instead of an important ticket. His demeanor shouts “I don’t care” and tiredness. For his costume, I would have him wear all black, which is the usual technical crew member's outfit. I would leave the actor's natural hair since it adds nothing to the show. His makeup would emphasize under eye bags and would be as natural as possible while highlighting all of the person’s facial flaws. I would have him either grow some stubble or draw it own. To achieve this look I would start with a base foundation of his skin color, stipple highlight, and contour in order to shape his face a little. To create the illusion of wrinkles I would take two different colors, dark and light, and have him wrinkle his forehead. In the crevasses, I would put the darker color and on the top put the lighter color. I would then use a makeup sponge to blend the colors to make the look more natural. To create the stubble on a clean shaven face I would start with a darker foundation around his jawline and then speckle black dots in that area. Then I would blend until I got the desired look. Trevor’s final look would be one of not caring and gross exhaustion. <br><br />
<br />
{{Infobox<br />
|title = Inspector Carter <br />
|bodystyle = width:12em<br />
|image = [[File:oben.png|x360px|alt=Milestone Image]]<br />
|label1= Thanks to<br />
|data1= [[User: Bjsecino|Benjamin Secino]]<br />
}}<br />
=== Inspector Carter (Chris) ===<br />
<br />
Chris is the actor who plays Inspector Carter during the show. Inspector Carter is an esteemed detective called to investigate the death of the healthy, wealthy, and soon to be married Charles Haversham. This show takes place during the 1920’s, so I decided that he should have the look of a 1920’s gentleman. For his costume, I will be taking inspiration from Sherlock Holmes and the quintessential gentleman of the 1920’s. So I would have him wear a pair of trousers, black leather shoes, white shirt, tie, and a long trench coat. This will give him the look of authority during a play that is quite literally falling apart at the seams. Inspector Carter’s hair, if possible, would be slicked back and combed with a part to one side. For the makeup, I would start out with a skin tone foundation and then highlight and contour his face to give him higher cheek bones to make him more proper looking. This would be smudged and blended with a makeup sponge. I would put some dark concealer inside his smile lines to make him look older and wiser. He would also have a small mustache, which could be modeled from Gomez Addams’ mustache. It would be drawn on by hand and then smudged with a brush. He needs to look prim and proper to add contrast to the lack of professionalism during the show. <br />
<br><br />
{{Infobox<br />
|title = Florence Colleymoore <br />
|bodystyle = width:12em<br />
|image = [[File:bnat.png|x360px|alt=Milestone Image]]<br />
|label1= Thanks to<br />
|data1= [[User:Nbloniarz|Natalie Bloniarz]]<br />
}}<br />
=== Florence Colleymoore (Sandra)===<br />
Sandra is the leading lady of the ''Murder at Haversham Manor'' and plays Florence Colleymoore , the soon to be married fiancé of the late Charles Haversham. Her style is of a 1920’s flapper girl who is very seductive and suggestive. She would have a red dress with a modest neckline and that comes down to the mid-calf. It should look kind of cheap looking and be paired with a short kitten heel and skin tone tights. Underneath the dress, she should wear spandex shorts due to the fact she gets knocked out by a door during the middle of the first act and gets carried off through a stage window in the most ungraceful way. The spandex will ensure that the audience does not see more than they paid for. Her second outfit will be when she comes on stage in the spandex and a bra trying to take back the roll from Annie the stage manager. It will be clear that they stripped Sandra of her dress and wig to give to Annie. The makeup for Sandra would start with a skin tone foundation blended with concealer under the eyes. Next, I would stipple highlight and shadow into the face’s peaks and valleys to give the face a more multidimensional look. It should be blended so it does not look splotchy. The eyebrows should be drawn on at a medium darkness, accompanied by a pale eyeshadow. Eye makeup would be finished off with mascara and black eyeliner. I would lightly brush blush onto the apples of the cheeks and finish the whole look off with red lipstick. She will also be wearing a dark haired wig that has a blunt and short flapper hairstyle. Her appearance is important to the play due to the fact that she is one of the only female actors in the ''Murder at Haversham Manor''. She needs to stand out, but also look natural next to the rest of the cast.<br />
<br><br><br />
<br />
==Poster & Promotion==<br />
[[Image:TPTGS Poster.jpg|thumb|right|x600px]]<br />
For promotion, I designed a poster that can be distributed through a variety of modes such as being hung up in the tube stations, hung around the West End, featured on online theater booking sites and social media. The design was meant to be simplistic and bold so it would catch people's attention and be easy to read quickly. I achieved this through high contrast colors and limiting the complexity of the poster. There are no small details or an abundance of colors to distract the eye from the message. The text is minimal, large, and easy to read. A small line of text can be added underneath the title to indicate the date without detracting from the title. That text would be white and in a basic font. The different elements of the poster are also based on themes of the show. To emphasize the theatrical aspects the font is similar to the one associated with Broadway, the page is framed by a theater marquee, and stage lighting casts a spotlight on the text. To emphasize the chaos of the show lights on the marquee are broken, half of the word "wrong" is falling down, one of the spotlights is broken and the other one is shining a bit too far right also casting more focus on the falling letters.<br />
<br><br><br />
<br />
=Conclusion=<br />
<br><br />
A theater production is so much more than just the actors. Without the production team, there would be no show. The acting is only just the surface of what goes into a show. When putting on a show, all aspects of the production must be closely considered. The set must allow maximum visibility to the entire audience, be a functional space and contribute to setting the tone of the show. Lighting must highlight both the set and actors and establish tone. The sound system must give every audience member clear, audible sound. Costumes and makeup should give a visual representation of the characters while maintaining functionality for the actors. Finally, the promotional team must ensure that there is an audience to see the show. "The Play That Goes Wrong" simultaneously demonstrates what to do and what not to do. The fictional theater group in the show creates an unstable, unsafe set, misplaces props and misses an actor with their spotlight among other mistakes. However, the show as a whole features many aspects done right by the real-life theater company. The sound system, while simple, is effective and special effects are carried out in a safe manner. They manage to have the second floor of the set collapse in a safe manner. The set design, through subtly creating an angle in the rear wall, allows for good visibility of the entire set. <br><br />
Future research may compare other productions of "The Play That Goes Wrong". Long-term research includes how theater practices and technology evolve from where they are today.<br />
<br><br><br />
<br />
=Attribution of Work=<br />
We all participated equally in the writing, research, and effort that was put into this large project. As a group, we went to see ''The Play that Goes Wrong'' and bought the play script to help mold the show into our own.<br />
<br><br />
==Katharine Conroy==<br />
In the background and deliverable, I wrote the sections on props, hair and makeup, and costumes. <br />
<br><br />
<br />
==Lauren Conroy==<br />
I wrote the abstract, introduction, lighting background, sound background, and lighting deliverable.<br />
<br><br />
<br />
==Justine Roy==<br />
I wrote the scenic background, promotions background, modern costuming practices, scenic deliverable, promotions deliverable, and conclusion.<br />
<br><br><br />
<br />
=References=<br />
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<!--DO NOT COPY THE FEATURED CATEGORY CODE BELOW--><br />
[[Category:Featured Projects]]<br />
<!--ONLY LONDON HUA ADVISORS MAY USE THE FEATURED CATEGORY TAG ABOVE--></div>Kfconroyhttps://londonhuawiki.wpi.edu/index.php?title=Theater_Beyond_the_Actors&diff=19407Theater Beyond the Actors2017-06-22T15:50:25Z<p>Kfconroy: </p>
<hr />
<div>=Theater Beyond the Actors=<br />
by [[User:Lconroy|Lauren Conroy]]<br>[[User:Jaroy|Justine Roy]]<br>[[User:Kfconroy|Katharine Conroy]]<br><br />
<br />
{{Infobox<br />
|title = Theater Beyond the Actors<br />
|bodystyle = width:25em<br />
|image = [[File:The Play That Goes Wrong- sm- JR.jpg|x450px|alt=Milestone Image]]<br />
|label1= The Play That Goes Wrong<br />
|data1= Duchess Theater <br />
}}<br />
<br />
<br />
[[Category:Drama & Theater Projects]]<br />
[[Category: 2017]]<br />
<br />
=Abstract=<br />
<br><br />
This milestone looks at the elements that add to the success of a show, which includes scenic, props, lighting, sound, costumes, and poster & promotion. We explored what these elements were like in early theatrical performances in comparison to modern day performances. Some of our research came from attending several current plays in the West End as well as backstage tours of the [[National Theater]], [[The Globe Theater]], and the Royal Shakespeare Company. This information was implemented into our deliverable through our own technical design of the play, ''The Play That Goes Wrong'', which we attended on May 9th. <br />
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<br />
=Preface=<br />
<br><br />
As a group, we had been very involved in theater at WPI. Two of our members were involved in a combination of acting, lighting, and scenic for the Showcase in D-Term. We had all taken various drama classes including, Theater Workshop and Introduction to Drama: Theatre on the Page and on the Stage and had been taught a lot about important dramas and what it takes to put on a show. We were excited to implement what we knew and what we would learn into our deliverable. <br />
<br><br><br />
In order for any show to succeed, there must be a dedicated, creative, hardworking production team. This team has the capability of creating a show that can move the audience to laughter, tears or both. Every aspect of the production is important and the show would suffer if a portion was neglected. As a group, we discovered how much time and effort it takes to create a cohesive, successful play. Each department in the production team has to communicate with each other to assure that everything is consistent and does not clash with another department's design. Our main objective was to create a solid design for each department of the production team, specifically scenic, props, lighting, sound, costumes, and promotion. Based on our research, we were able to determine how to create our concepts using specific makeup, props, construction material and lighting fixtures. Our final designs embody all that we have learned through reading and watching "The Play that Goes Wrong" at the West End. <br />
<br><br><br />
__TOC__<br />
<br><br><br />
<br />
=Introduction=<br />
<br><br />
Theater is one of the oldest art forms that expresses thoughts and ideas through visual entertainment and performative elements. It stretches back to the time of the Romans and ancient Greeks with traditions continuing into modern day. Performances at theaters can leave audiences crying, laughing, beguiled and awe-inspired, but it takes teams of area specialized people to make sure these productions are successful. Technical groups such as scenic, props, lighting, sound, costumes, and poster & promotion aid in the creation of setting the perfect atmosphere for actors and actresses to deliver their lines and move audiences. These groups are the unsung heroes of what makes theater so spectacular.<br />
<br><br><br />
The goal for this milestone is to create our own technical designs for ''The Play that Goes Wrong'' utilizing the information we learned from the background and by seeing the show. Each of us put our own spin on the scenic, props, lighting, sound, costumes, and promotion of the play. For each section, we have some type of physical diagram or photograph displaying what we would have done if we were put in charge of each technical department of the show. The results and a statement of why we chose to design our set, props, lighting, sound, costumes, or promotional item the way we did are placed in the deliverable section.<br />
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<br />
=Section 1: Background=<br />
<br><br />
When people go to watch a show, they may think of the amazing acting and/or singing that is taking place. They ooh and aah at the magnificent story told by these actors and actresses, but little do they think of the unsung heroes behind the scenes who work tirelessly to make the characters look and perform the way they do on stage. There is much more to a show than just the actors. Behind the actors, there is a huge line of support crew contributing to every aspect of the show beyond the performers who, without them, the show would not be able to go on. These people belong to the groups of scenic, props, lighting, sound, costumes, and promotional aid. Below is an in-depth analysis of these technical groups that make shows come alive. <br />
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==Scenic==<br />
<br><br />
The set is affected by a number of factors including theater style, the plot, the setting, the tone, the budget and the designer's imagination. <br />
===History & Techniques===<br />
Going all the way back to the ancient Greeks, their set was just a backdrop. It was designed to provide context for the show and give a place for the actors to hide offstage. In their later years, the backdrop developed to have doors for the actors to enter and exit. The Romans adopted the Greek style and not much changed for the Renaissance and Commedia Del'Arte eras. (Carver, 2009, p 4-11) Between the 16th and 19th centuries, set designs continued to develop. During this time, the wing and drop style came into being. Wings refer to the extension of the backdrop downstage on either side. These were also called legs. Above the stage, a border was added to round out the set. These changes had the added benefit of hiding the inner workings of the theater. Another popular style to emerge was the use of Periaktoi. Periaktoi were three-sided columns that would be arranged side by side. The backdrop would be divided into columns and put on one side of each Periaktoi. The Periaktoi could then be turned, sometimes with the use of a pulley system, to reveal a given backdrop. Flying effects also developed. A platform that was attached to a vertical track could be raised and lowered with pulleys. In an effort to disguise the system, a two-dimensional cloud would mask the platform. Trolley systems for moving set pieces also developed. The pieces would be attached to tracks under the stage that would be pulled along their path using ropes and a crank. This is also the time that the iconic trap door came into being. The door in the floor would open and actors could enter or exit via ladders or primitive elevator systems. The 18th century brought technology advances that enabled quicker transitions and a desire for more realism. This desire for a more realistic experience led to the box set. The box set typically is comprised of three walls, a ceiling, and a scenic ground row. Previous stages were made at an incline to aid in visibility and acoustics with the back of the stage at a higher elevation than the front. This was done away with in order to make the set appear more natural. The box set also led to the convention of the fourth wall. This division between the performance and the audience was furthered by masking the stage from the audience before the show with a curtain. While flying was phased out of style because it was unrealistic, casters (the wheels seen on shopping carts) became the primary means for moving scenery. The revolving stage also grew in popularity as it enabled quick scene changes. The set would be constructed on a platform, built as part of the stage, that could spin. The platform with the scenery would then spin to reveal new sets. (Carver, 2009, 194-196) All of this technology is the basis for current scenic design. While technology has advanced greatly since those time, many of the concepts are still used today. <ref>Carver, Rita Kogler. Stagecraft Fundamentals. 1st ed. Boston: Focal, 2009. Print.</ref><br />
<gallery mode="packed" heights=300p caption="Periaktoi"><br />
Image:Beach Periaktoi- sm- JR.JPG<br />
Image:Periaktoi Transition- sm- JR.JPG<br />
Image:Forrest Periaktoi- sm- JR.JPG<br />
</gallery><br />
<br />
===Design Considerations===<br />
As I said previously, there are many factors that go into the set design. Clearly, there are many options available to scenic designers and they must choose those that best achieve their creative image within their constraints. Depending on the venue and the show, the budget can vary greatly. Broadway and West End shows have massive budgets that allow for costly effects. These shows can showcase expensive effects such as pyrotechnics and trap doors. On the other hand, the local theater will have a much smaller budget and will have to keep the set simpler or get quite creative with the resources they have. Another important factor is the style of theater. Most people are accustomed to the proscenium theater where all of the action takes place behind the proscenium arch. With a proscenium stage, the designer only needs to worry about the audience on one side of the stage and what can be seen at different angles to the stage. However, thrust stages that have the audience on three sides, arena stages with the audience on all sides and black box theaters that can have the audience theoretically anywhere require more careful consideration. It is easy to block the view for parts of the audience due to large scenic pieces. While a couch may be a useful place to sit, this could result in blocking the view for those situated behind or to the side of it if it is not carefully considered. Spectators' view should never be compromised unless for very good reason as every person is paying to see the show and should have a good experience. In addition, limited backstage space as a result of the style of the stage could limit set changes. (Carver, 2009, p 14-19) Naturally, the tone, setting, and plot of the show all contribute to the designer's vision for the set. The set must reflect the environment the show takes place in, be a functional space for the actors to work in and contribute to the feel of the show.<ref>Carver, Rita Kogler. Stagecraft Fundamentals. 1st ed. Boston: Focal, 2009. Print.</ref><br />
<gallery mode="packed" heights=150p><br />
Image:Proscenium- sm.jpg|Proscenium Stage<ref>By User:FA2010 (Own work) [Public domain], via Wikimedia Commons</ref><br />
Image:Thrust-sm.JPG|Thrust Stage<ref>By Wharton Center (Own work) [CC BY-SA 3.0 (http://creativecommons.org/licenses/by-sa/3.0)], via Wikimedia Commons</ref><br />
Image:Arena- sm.jpg|Arena<ref>By Savino Paolella [CC BY 2.0 (http://creativecommons.org/licenses/by/2.0)], via Wikimedia Commons</ref><br />
Image:Black Box.jpg|Black Box Theater<ref>See page for author [CC BY-SA 3.0 (http://creativecommons.org/licenses/by-sa/3.0)], via Wikimedia Commons</ref><br />
</gallery><br />
<br />
===Design===<br />
While there is no mandatory process for set design, it typically includes many sketches and models of the design. This is important so the set designer can effectively communicate their vision for the set with the director and other departments to create a cohesive image. Early stages of design might be represented through sketches then renderings. As the design develops, a scale model of the set on the stage will be created. This allows for people to get a good idea of the space there is to work with. Audience views, lighting and functionality can be tested. Once the design is finalized, technical drawings will be sent out to the fabrication shops for it to be constructed. (Carver, 2009, p 197-205) When designing the set, not only are there the previously mentioned techniques and considerations for the designer to keep in mind, there are also artistic considerations. The first thing a designer might do is research the setting of the show. For example, if the show is set in the past, then the designer will want to capture the architecture of the time. Once they develop an idea of what the set should convey and the elements that it should contain, the designer must decide how to put it all together. In part, this may come from how an actor is supposed to move through the space. If the set is a house that the character walks through then it might be necessary that the kitchen and living room are located next to each other. However, much will be left to the designer's discretion. One rule of thumb is the rule of thirds. Imagine that the scene is divided into a three by three grid. Positioning focal points along the two imaginary horizontal and vertical lines creates an image that is supposed to be more visually appealing. It is typical for a person to just focus on the center of what they see. By creating the other focal points, it draws the viewer's attention to more of the scene and makes the image more interesting. Set design calls on many more features seen in art. Line style, color, texture, line weight, shape, pattern, scale, and shades should all be taken into account. Cool colors create a sad or mellow tone whereas warm colors are happier and more energetic. Straight lines can be harsh while curved lines are typically soothing. Bright colors indicate a happy mode while dark colors can be upsetting and mysterious. (Carver, 2009, p 33-73) Therefore, set design is a process of considering a variety of elements and determining the best way to combine them to achieve the desired effect. There is no one correct design.<br />
<ref>Carver, Rita Kogler. Stagecraft Fundamentals. 1st ed. Boston: Focal, 2009. Print.</ref><br />
<br />
===Fabrication===<br />
Designing the set is still only just the beginning. Once the technical drawings are handed over, the set still needs to be created and there are a variety of ways to achieve this. Sometimes the drawings will specify details such as materials. Often times it is the decision of those making the set. Most of the time the set is not made of what the audience would expect. Large marble and brick structures could be painted wood. Stone or metal statues could be carved from foam. In the world of theater, nothing is as it seems. This is where the artistic skill of those creating the set comes in. A common set piece is the flat. A flat is essentially a painted piece of plywood or some other composite board. When painted correctly, the flat could appear to be much more than it is. Scenic artists have developed techniques for convincingly painting the appearance of different surfaces onto flats, backdrops and other scenic pieces. Marble is created by painting several layers of paint, according to certain complimentary color schemes, and swirling the paints. Brick is also achieved by layering paint. Often times clay or other mediums can be used to add texture beyond what painting can provide. This part of the process has endless possibilities. If an artist has a vision, they are sure to find some creative method of fulfilling it. (Carver, 2009, p 205-244)<br />
<ref>Carver, Rita Kogler. Stagecraft Fundamentals. 1st ed. Boston: Focal, 2009. Print.</ref><br />
<br />
===Current Examples===<br />
National Theater's [[National Theater#Theater Space#Olivier Theater|Olivier Theater]] is set up for advanced scenic techniques and designs. The fly is 30 meters high and automated enabling quick and smooth set transitions. It has enough power to lift a double decker bus enabling them to store large scenic elements. The most notable technology they have is the drum under the stage. The drum spins enabling a rotating stage. In addition, it is split into two halves with each half being a stage lift. In the past, these lifts have been used to reveal the cross section of a ship in a production of "Treasure Island". The recent production of "Twelfth Night" made good use of the technology available. The set featured a revolving stage. There was a wedge that could rotate and split apart into different slices that would reveal the various sets. The revolving motion was also used to indicate motion and travel. For example, as the actors drove off stage at the end of the first scene, the stage also spun giving the cars more distance to travel as well as transforming the set. In addition, there were two trap doors used to reveal a hot tub and a fountain. A revolving stage was also used in the performances of "Harry Potter and the Cursed Child" at the Palace Theater. The effect was not as dramatic as in "Twelfth Night" where the entire set rotated. Instead, the revolving stage was used to create motion. Specific scenic elements were able to wobble back and forth or spin. For example, Hogwarts' moving stairs were able to spin to mimic their movement. Sometimes the stage would rotate to counter the movement of a character enabling them to walk further than they actually had. Other times characters would be moved without them walking. The set itself was simplistic in comparison to the spinning set seen at the National Theater. There was a backdrop and flats along each of the wings. These flats were on some sort of carriage system that enabled them to be slid side to side. This came in handy when the stage had to be transformed into the Forbidden Forrest. The flats were able to be slid into the stage space to create the trees. The set of "Don Juan in Soho" at the Wyndham's Theater was also notable. While much of it was created through the use of furniture and projections, the set underwent a radical change at the end of the show. The entire stage space was transformed when the sides of the stage swung outward. This created a wider image. The ceiling then tilted down towards the back of the stage which heightened the effect of the widening of the stage while focusing attention towards the back of the stage where actors were. The [[Royal Opera House]] also has a unique system for managing their set. They have a wagon system designed by Rolls Royce. When sets are delivered to the theater, they are stored in a conveyor system. When they are needed, the stage and set are placed on wagons that can slide into a spot on the permanent stage and be lowered hydraulically into place. This enables them to completely switch between the sets for two different shows in just twenty minutes. Furthermore, the Royal Opera House makes the entirety of their sets off-site in Thurrock. In contrast, National Theater makes roughly 60-80% of their sets. Their set building process takes place over just six to eight weeks. Parts will be constructed from scratch or bought and modified if it proves more economic and efficient. One trick they use when creating intricate or heavy set pieces is to use foam. For example, decorative molding that would take a long time to carve out was created by making a mold and filling it with expanding foam. The foam was then painted gold and appeared as if it was authentic. Unfortunately, despite all the work that goes into these sets, they cannot be reused due to the copyright on them. After the run of a production, they are put in storage until they are eventually recycled.<br />
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<br />
==Props==<br />
Props, simply put, are pieces of property of the theater company that enhances the set and story. It comes as no surprise that "prop" is just the shortening of property. Props range from elaborate falling chandeliers to plain coffee cups. It is an umbrella term for anything that is portable on stage and does not fall into any other category. Ironically, food and drink consumed on stage fall under the category of a prop. They are used to enhance the plot and characters or the show. Props have been used since the beginning of theater, most notably in Greek and Roman use of masks (Bieber, 1961, p.) <ref> Bieber, M. (1961). The history of the Greek and Roman theater: 2d ed., rev. and enl. Princeton, NJ: Princeton University Press. </ref> However, there is not a lot of history on props as they are often less memorable than a costume or wig, despite that many times they are the height of the tension or excitement in a show. Andrew Sofer demonstrates this best with the use of a prop gun as the medium of drama for a show’s plot. He uses the example of Henrik Ibsen’s “Hedda Gabler” to show the double meaning between killing time and how Hedda must kill herself to end time (Sofer, 2003 p. 167- 203). <ref> Sofer, A. (2003). The stage life of props. Ann Arbor, MI: Univ. of Michigan Press. </ref> He does an in-depth analysis of the symbolism of gun usage in different shows to kill not only one’s self but also all that it represented. One can see that props have a special place on a show’s stage and are necessary to communicate ideas important to the plot. <br />
<gallery mode="packed"><br />
Image:figs-1620590_640.jpg|''Edible Props'' <br> Couleur. (2016). Fig photograph. Licensed under Creative Commons Zero on Pixabay.com<br />
<ref> Couleur. (2016, August 25). Fig [Photograph]. Retrieved from: https://pixabay.com/en/figs-red-coward-fruit-fruits-sweet-1620590/ </ref><br />
<br />
Image: burning-money-2113914_640.jpg|''Flammable Prop'' <br> Intellectual. (2017). Prop photograph. Licensed under Creative Commons Zero on Pixabay.com<br />
<ref> Intellectual. (2017, January 24). Prop [Photograph].Retrieved from: https://pixabay.com/en/burning-money-dollars-cash-flame-2113914/ </ref><br />
<br />
Image: glasses-543117_640.jpg|''Glasses'' <br> Timbo84. (2014). Glasses photograph. Licensed under Creative Commons Zero on Pixabay.com<br />
<ref> Timbo84. (2014, November 23). Glasses [Photograph].Retrieved from: https://pixabay.com/en/glasses-ray-ban-black-sehhilfe-543117/ </ref><br />
<br />
</gallery><br />
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<br />
==Lighting==<br />
===The Early History of Lighting in Theaters===<br />
The theaters of the ancient Greeks were always open and performances always took place during the day. They based the start time of the show on the position of the sun in the sky. That way, if darkness was needed, they would have the night sky. In Shakespeare’s time, theaters were moved indoors, so the candles were needed for lighting. The first type of candles used was called footlights because they were located near the actors’ feet. Traditionally, these lights were located on the downstage edge and apron of the stage. Eventually, just putting candles at the edge of the stage would no longer suffice as more control over lighting was desired. It was then discovered that putting a reflective surface behind the candle, between the audience and the actor, would intensify the light. To change the color of the lights, colored liquid would be placed between the footlight and actors. Gas became popular in the late 1700’s and the early 1800’s when it began to be pumped into buildings for lighting. This lead to the invention of the limelight. This device is created by directing a gas flame at a cylinder of calcium oxide. This invention was first used in London at the Covent Garden Theater. In the 1850’s, Joseph Swan, an English physicist, and chemist began working on a light bulb using carbonized paper filament in an evacuated glass bulb. This lightbulb had a low resistance and was not ideal for use in theater. Thomas Edison improved on Swan's design and created a high resistance lamp in a very high vacuum which could burn for hundreds of hours. The fluorescent lamp was created a little after the development of original light bulb. This is a gas-discharge lamp using electricity to excite mercury vapor. The excited mercury vapor produces a short-wave ultraviolet light that causes a phosphor to fluoresce, producing a visible light. Halogen lights are incandescent lights that use a tungsten filament sealed into a compact, transparent, quartz envelope. The envelope is filled with an inert gas and a small amount of halogen, which increases the life of the bulb. (Carver 270-279)<br />
===Conventional Fixtures===<br />
Conventional fixtures are non-moving lights usually hung off of a truss and batons. They are flown in and out to focus the lights on the stage so that performers and items can be spotlighted. <br><br />
All conventional fixtures have a lens, yoke, lamp housing, power cable, accessory holder, and a pipe clamp. At the front of each fixture is the accessory holder for gel frames and directly behind that is the lens holder. There are different types of lenses such as VSNP (very narrow spot), NSP (narrow spot), MFL (Medium Flood), and WFL (Wide Flood), which do as their names suggest. In the middle of a fixture is the yoke. This is used to angle the fixture to focus the light. At the end of the fixture are the lamp housing and the power cable. The housing allows you to change the lamp when it goes out. The cable allows you to connect the fixture to power. Some can even come with LED lamps. (Carver 280)<br />
<br />
====Beam Projector====<br />
{{Infobox<br />
|bodystyle = width:25em<br />
|image = [[File:Beam.JPG|110px|alt=Image ]]<br />
|label2 = '''Description'''<br />
|data2 = Beam Projector Effect (WIKI Commons)<br />
}} <br />
This fixture has an open face and produces a narrow beam of light by using two reflectors. The primary reflector is located in the back of the fixture and is a flat parabolic reflector. In the front of the lamp is the secondary reflector which is spherical and reflects the light from the lamp. Towards the back is the parabolic reflector. The parabolic reflector collects the light from the lamp into intense parallel beams of light. (Carver 280)<br />
<br />
====Scoop==== <br />
{{Infobox<br />
|bodystyle = width:25em<br />
|image = [[File:Scoop.jpg|130px|alt=Image ]]<br />
|label2 = '''Description'''<br />
|data2 = Scoop Fixture (WIKI Commons)<br />
}} <br />
These fixtures are open-faced units that have no lens. The housing for the light itself is ellipsoidal in shape and the inside of a scoop is painted white to reflect the light forward. There are few possibilities when focusing these lights because they can only pan or tilt. Some may joke that one may cook their act if they solely use these lights to light the stage. Scoops come in several sizes from 10 inches to 18 inches. (Carver 280-281)<br />
====Fresnel====<br />
{{Infobox<br />
|bodystyle = width:25em<br />
|image = [[File:Fresnel.JPG||140px|alt=Image ]]<br />
|label2 = '''Description'''<br />
|data2 = Fresnel Fixture (WIKI Commons)<br />
}} <br />
These lights are versatile because they can be used as a stage wash or to focus on a single character. Fresnel lights are soft-edged and have spherical reflectors in the back with sliders attached to the bottom to allow for easy focus. By adjusting the slider forward and backward the relationship of the reflector and the lamp to the lens is changed. Fresnels come in a wide range of sizes from 3 inches to 24 inches and are arguably one of the most used conventional fixtures. (Carver 281)<br />
====Source 4====<br />
{{Infobox<br />
|bodystyle = width:25em<br />
|image = [[File:S4.jpg|150px|alt=Image ]]<br />
|label2 = '''Description'''<br />
|data2 = Source 4 Fixture (WIKI Commons)<br />
}} <br />
The original name for this fixture is the ellipsoidal reflector spotlight or ERS. Many people also refer to it as a leko light, while some others call it a Source 4 because the is the most popular fixture from the ETC company. The Source 4 has an ellipsoid reflector and two lenses. This means the user can change the focus of the beam by changing the distance between the two lenses. Depending on the focus, the user can get a harder edge or softer edge. It is the most flexible and most used fixture in the industry. They also have rotational or stationary shutter barrels. By pushing the shutter into the fixture, the user can mask a portion of the light that comes through the fixture. The rotational shutter barrels allow users to shutter abnormal light angles. Exchangeable lens tubes that come in: 5°, 10°, 14°, 19°, 26°, 36°, 50°, 70°, and 90° can also be purchased. (Carver 281)<br />
====PAR====<br />
{{Infobox<br />
|bodystyle = width:25em<br />
|image = [[File:Para.jpg|150px|alt=Image ]]<br />
|label2 = '''Description'''<br />
|data2 = PAR Fixture (WIKI Commons)<br />
}} <br />
PAR is actually the name of the lamp that is in the fixture. It stands for parabolic aluminized reflector. The lamp and the reflector are sealed together with a lens which is then inserted into the back of a tube, or “can”, to help shape the beam of the light. Note: Some people call these fixtures PAR CAN. This fixture and the Source 4s are the two fixtures that use different lenses such as the VSNP, NSP, MFL, and WFL. Most PAR beams have an oval shape that can rotate to change the direction of each beam’s axis. Some of the newer versions allow you to separate the lamp from the lens, making them very similar to scoops. (Carver 281-282)<br />
====Strip Lights==== <br />
{{Infobox<br />
|bodystyle = width:25em<br />
|image = [[File:Strip.jpg|110px|alt=Image ]]<br />
|label2 = '''Description'''<br />
|data2 = Strip Light (WIKI Commons)<br />
}} <br />
These are large, bulky lights that usually remain in one place for multiple shows. They can have lights of multiple colors or just white lights. They are hung using C-clamps. Strip lights are used for general stage washes or to provide back lighting so the actors can see. (Carver 284)<br />
===Intelligent Fixtures===<br />
Intelligent fixtures are moving fixtures. They can also be hung off of a truss and batons or they can sit on stages and other flat surfaces. Their placement is important because they have a limited range of motion. Unlike conventional fixtures, intelligent fixtures require programming. They are addressed to the directory and is able to understand the user. They are more difficult to program than conventional lighting because they have more than one attribute per fixture that must be controlled. For concerts, these fixtures usually need a skilled live operator who knows what the performer is doing onstage and the cues for lighting changes. The most popular brand for these types of fixtures is Martin and the most popular fixtures are their MAC Auras, MAC 2000 profile/wash movie light and Seladore Desires.<br />
(Carver 285)<br />
===Controllers/Consoles===<br />
In order to raise and lower dimmable fixtures, users use control boxes called dimmers. Dimmer racks have patch bays where fixtures can be associated with a letter and a number to keep track of and control each light individually. A user may run DMX, digital multiplex, to run the lights off of a lighting console. <br><br />
Consoles take the patched lights and allow users to be able to control the lights as cues from shows. This process is tedious but adds so much depth. Imagine ''Defying Gravity'' without that beam of light that suddenly shows on Elphaba. The scene would have less impact without it. Cues are usually named after what scene and act they are in. Usually, a board operator is told when to play the cue by the stage manager via ClearComm. (Carver 288-289)<br />
===Accessories===<br />
GOBOs are different patterns that are cut out in metal and placed in a Source 4 using a GOBO holder. Shadows are cast by the GOBO to achieve the desired effect. Gels change the color of a light fixture without having to change the lamp bulb. They can be diffused with white and darkened with another color. A top hat helps reduce flare and cut out some excess light. Barn doors are placed in front of soft edge fixtures such as fresnels or PARs to block parts of light beams that spill into the border (Carver 289 291).<br />
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<br />
==Sound==<br />
===The Ancient Greeks===<br />
The Ancient Greeks are one of the first civilizations to create and build theaters for performances. Many theaters today use concepts and designs that were contrived by this group of people. The design of these theaters was quite simple, in fact, they were designed based on a circle. The diameter of a theater was often 80 feet in length, which is two times the size of most theaters today. In order for the sound of the actors to reach every one of the 12,000 people in the theater, the construction of the building had to be to specifically engineered for sound to travel up the stadium seating.<ref>Carver, Rita Kogler. Stagecraft Fundamentals Second Edition: A Guide And Reference For Theatrical Production. 2nd ed. Burlington, MA and Jordan Hill, Oxford, UK: Focal Press, 2012. Print.</ref> The first documented discussion of concerns about stadium acoustics versus view was brought about by the Roman Vitruvius in the first century BC. He presented the idea that a theater with acoustic dissonance, circumstance or resonance would be unsuitable for audiences and therefore actors. He proposed that careful attention must be made to the selection of the theater site and the type of performances that would occur there, whether they are acting or singing. It was Vitruvius who sparked the development of acoustics of Greek theaters, which spanned over two centuries.<br />
<br><br />
{{Infobox<br />
|title = Sound Ray Paths<br />
|bodystyle = width:25em<br />
|image = [[File:Reflect.jpg|320px|alt=Image ]]<br />
|data2 = Figure 1 ''Auditorium Acoustics And Architectural Design'' by Michael Barron <br />
|label2= '''Description'''<br />
}} <br />
After an extensive trial-and-error process, the Greeks created a theater design that optimized the sound quality and volume for all members of the audience. Sound propagation in a Greek theater was essential to increase the volume. Every member of the audience would receive direct sound based on three reflections of sound; the reflection from the front of the horizontal orchestra, the reflection from the front chorus on the rear half of the orchestra, and the reflection for the actors on the raised stage.<br />
<br />
Figure 1 illustrates the previously described reflection sequence. The reflection from the orchestra carries speech 40% further than without the modification. Greek theaters have the distinct feature of a steep seating rake, around 20 to 34 degrees. Although this is not confirmed, there is no doubt that the higher angles of incidence to the audience seating have a profound effect on the sound quality for the audience. Though these modifications aided in the increased volume of the actors, there had to be silence from the surrounding area of the theater and the audience for unassisted speech to be audible. This is why many theaters were located in urban locations.<ref>Barron, Michael. Auditorium Acoustics And Architectural Design. 1st ed. London: Spon Press/Taylor & Francis, 2010. Print.</ref><br><br />
{{Infobox<br />
|title = Mask Filter<br />
|bodystyle = width:25em<br />
|image = [[File:Polar2.JPG|320px|left|alt=Image ]]<br />
|data2 = Figure 2 ''The sound effect of ancient Greek theatrical masks '' by Fotios Kontomichos, Charalampos Papadakos, Eleftheria Georganti, John N. Mourjopoulos and Thanos Vovolis<br />
|label2= '''Description'''<br />
}} <br />
The most notable theater for its location is the isolated site of Epidaurus, which accommodated around 14,000 people and dates from around 350 BC. In the second century, this theater was considered the most perfect of all the Greek theaters. Seats at this theater reached distances of 70 meters from the front of the stage. How could sound reach the entire audience? The two factors that amplified the sound were masks and the theater design. With a distance that far, the actors used masks to act as a microphone to spread the sound of the actor's voice further. The masks, themselves, were constructed from hardened liquid stone and varied in design aspects such as whether they had open ears or an open mouth. Modern engineers have replicated these masks by creating mannequins that resembled the mask form and produced the type of sound that had come from these actors. The measurements they took produced a set of h<sub>θi</sub>(n) of discrete time impulse responses measured for different angle intervals with the mask on the mannequin. From there, the group was able to determine the corresponding magnetite frequency responses. The final results indicated that mask has the properties of an angle-dependent acoustic filter and the acoustic radiation of the actor's voice was significantly enhanced for the off-axis scenarios. <br />
<br><br />
Figure 2 is based on the measurements from the manikin and shows the polar patterns for the mask filter and the mask radiation for octave bands centered at 0.25,1,2,4 and 8 kHz.<br />
The acoustics of the theater of Epidaurus were flawlessly tuned for each performance. Any sound produced in the orchestra was reflected and scattered around the theater of the hard limestone surfaces and ultimately reached the audience's ears. The reflected energy reached the listeners with a very small delay of 40 milliseconds. At all positions of the theater the most significant frequencies of the male speech, with a pitch ranging from 125-140 Hz, first vocal harmonics, at 250-420 Hz, and formants, from 300 HZ to 3 KHz, were amplified while keeping the richness and color of each voice. Any sounds that were outside of those ranges were filtered out to avoid the early beginnings of feedback.<br />
In order to see the effects of theater's specific design and the use of the mask working together, engineers denoted h<sub>TIRθ<sub>jrj</sub></sub>(n) as the discrete-time impulse response of the "theater-filter" and measured it for azimuth angles θ<sub>j</sub> and distances of r<sub>j</sub>. This combined impulse response, CIR, was then denoted at h<sub>CIRθ<sub>ijrj</sub></sub>(n) The resulting formula is able to calculate the acoustic results in terms of gain.<br />
<ref>Kontomichos, Fotios et al. "The Sound Effect Of Ancient Greek Theatrical Masks". ICMC. Athens: N.p., 2014. Web. 6 June 2017.</ref><br />
[[File: Stage.JPG|x320px|left|thumb| Plane Measurement and Coordinates for Theater Source and Receiver Positions and Masks]]<br />
[[File: Mask.JPG|x320px|right|thumb| Schematic diagram ]]<br />
<br clear=all><br />
===21st Century Sound Systems===<br />
{{Infobox<br />
|bodystyle = width:25em<br />
|image = [[File:Soundsystem.png|320px|alt=Image ]]<br />
|label2 = '''Description'''<br />
|data2 = Sound System Diagram (WIKI Commons)<br />
}} <br />
Since the time of the Greeks, technology has evolved and become more advanced. The invention of electricity has played a key role in increasing the volume and quality of the actor's vocals. Acoustics refers to the sound quality of a room in reference to the overall audio quality without any sound amplification devices such as microphones and speakers. When creating a theater, the ambient noise that is surrounding the building or room when there is no planned audio must be considered. The Greeks dealt with this by having their theaters located in the middle of nowhere, but in today’s times, that would be utterly useless and unfeasible. Who would want to go to a play or musical in the Sahara Desert? That is why today many theaters pad their walls and make sure the stage is covered by a sound-absorbing curtain, which also doubles as an object to hide the cast until ready. Modern actors may not have learned the proper way to project their voice so that the audience in the back can hear. Modern-day sound systems have let actors and actresses become more lenient with projecting their voices because, with the adjustment of a gain knob and the increase of a slider, their volume is magically louder. Along with the actors and actresses on stage, there are orchestra reinforcements to add to the mood of a performance. However, there is a delicate balance between the actors and actresses and the orchestra because louder does not mean better. It is important to know the difference between amplification and reinforcement or the show could go horribly wrong. Amplifying denotes that the volume of an actor, actress or instrumentalist is increasing. Reinforcement is all about moving sound to create the perfect environment which requires a subtle touch. Amplification is noticeable whereas reinforcement shouldn’t be. Today's sound engineer must also account for the sound of background noise created newer technologies such as HVAC systems<br> (Carver 364)<br />
====PA Systems or Sound Systems====<br />
For a basic sound system, there are three main areas: input, output, and processing. Inputs are quite simple. They are the microphones that are connected via wires or wirelessly to a mixing console. The mixing console takes those inputs and can make pre-amplification changes on the microphone level signals to line levels. The signal then goes through equalization. Different filters can be applied to each microphone. This is helpful for equalizing different voices such as a female voice versus a male voice. Low pass filters are used on male voices so that any noise that comes through the microphone outside of the specified frequency is negated. Similarly, a high pass filter is used for female vocals. Level control is then used to process the signal and send it to the output. The output of a console is an amplifier, most commonly a speaker. The speaker converts the signal that is received into sound waves that people can hear and hopefully enjoy. Sound equipment has many variations. Inputs can include microphones (wireless, lavier, wired, wireless mic packs), contact pickups, magnetic pickups, laser pickups and optical pickups. Signal processors can include reverberation, delays, and amplifiers. Outputs can be loudspeakers (subwoofers, woofers, midrange, and tweeters) and headphones. The most important part is choosing the right equipment for the right show and location as well as speaker placement. For example, subs and heavy bass would not typically be used for a ballet. (Carver 366-367)<br />
====Microphones====<br />
{{Infobox<br />
|bodystyle = width:25em<br />
|image = [[File:Mic.JPG|320px|alt=Image ]]<br />
|label2 = '''Description'''<br />
|data2 = Different Types of Mics (WIKI Commons)<br />
}} <br />
The most basic function of a microphone is to pick up the sound and convert that acoustic sound to electrical energy. There are two main groups of microphones, dynamics, and condensers. Dynamic microphones are versatile, reliable, durable and, most importantly, affordable. The SM57 and SM58 are able to handle anything that life throws at it. The SM58 is used widely as a microphone for vocalists and is most notably identified by its ball grille. The SM57 is more for instrumentalists and can have a windscreen for heavy wind or breathing. Both the SM58 and SM57 are very similar in design and range and can be used interchangeably. Condenser microphones are more likely to be seen in theaters because they have an extremely versatile range. These microphones are quite special because they need 48-volt phantom power. On most mixers, the sound person must switch on phantom power to the assigned microphone. There are various styles of microphones because a handheld mic may not appeal to everyone. A lav or lavalier mic is very small and can be placed on a person’s shirt or in a person’s wig/hairline. Contact pickups are similar to microphones and are attached to instruments to pick up the sound through its vibrations. Pressure-response microphones are also used for instruments. They are mounted on a flat surface with an attached plate that increases gain.<br />
<br><br />
Impedance of a microphone refers to the amount of resistance a microphone has to an audio signal. The lower the impedance, the less issues a microphone may have when using a longer cable and dealing with noise interference. Typically a lower impedance means a better-quality microphone, therefore a perfect choice for theater.<br />
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Gain deals with the amplification of a microphone through a sound system. If set up properly, meaning the system, microphones, and speakers, gain can be maximized. Handheld microphones have more latitude when it comes to gain versus its wireless counterpart. However, as the technology has gotten better, lavalier microphones have gotten smaller and better, but at a very high financial cost. Lav mics can be seen almost everywhere such as in theaters and on television news shows. The loop is sized for the person’s ear and a piece of tape is placed on their cheekbone and behind their ear. The pack is the hidden in the shirt making sure the person has enough neck room to not pull the mic off. <br />
<br><br />
Area micing is a technique used for large bands or choirs. An array of floor microphones is placed on the ground and the board operator increases or decreases the gain as needed. For this, it is better to use an odd number of microphones which will provide the most options of which microphones to use at any given time. (Carver 364-368)<br />
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====Mixing Consoles====<br />
{{Infobox<br />
|bodystyle = width:25em<br />
|image = [[File:Mix.jpg|320px|alt=Image ]]<br />
|label2 = '''Description'''<br />
|data2 = Digital Mixing Console (WIKI Commons)<br />
}} <br />
All consoles work on the same concept. They take inputs, process the signal via equalizing, delays and reverberation, and transfer the audio to outputs. Each console is different with a given number of inputs and outputs as well as limits to the types of adjustments one may make to the audio signal. There are two types of consoles, analog and digital. Analog boards come in a range of sizes. Examples include the Mackie 1402VLZ4 14-Channel Compact Mixer and the GL4000. The drawback of these boards is that there are no equalizers, delays, or special effects, which are available on digital boards. Digital boards are the newest in sound engineering technology and are continually being developed. Digital consoles can be more flexible. Some digital boards have mobile device applications that allow a person to control the board from the stage instead of from front of house making equalizing easier and faster. (Carver 370)<br />
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====Speakers and Headsets====<br />
There are four types of speakers: tweeters, midrange, woofers, and subwoofers. Tweeters are meant for producing sound in the high-frequency range. Midrange speakers are designed to reproduce sound at midrange frequencies. Woofers are for low frequencies and subwoofers are to produce sounds at very low frequencies. Subwoofers are usually the speakers that make the floor shake at a dance party. Line arrays are groups of speakers that are hung vertically or horizontally. They have a very narrow spread of sound per speaker. Wedges or monitors are used by most musicians and vocalists so they can hear themselves throughout the performance. Selected sounds are mixed through the soundboards and then output through each wedge. Positioning the speakers is key because some speakers only have 90-degree dispersion. <ref>Mellor, N. (2017). Speaker Off Axis: Dispersion Specifications and Off-Axis Response Plots - Acoustic Frontiers. Acoustic Frontiers. Retrieved 18 June 2017, from http://www.acousticfrontiers.com/dispersion-specifications-and-off-axis-response-plots/</ref>The best positioning for these speakers is in pairs facing the corners of the space diagonal to them. <br />
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Headsets are used for stage managers and other run crew to know what is going on. They allow communication between the groups. Different groups can be on different channels like handheld radios. Clear-com is the most popular and is easily setup using XLR to the control box. It comes in wired and wireless versions. (Carver 371-377)<br />
<ref>Carver, Rita Kogler. Stagecraft Fundamentals. 1st ed. Boston: Focal, 2009. Print.</ref><br />
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==Costumes==<br />
=== History and Method ===<br />
Costumes are very important in transforming an actor into the character they are playing. Costumes are also used to set the scene of the play. For example, Victorian Era costumes will make the show appear to be set in the Victorian Era. Costumes have been used since the ancient Greeks and Romans. Greek theater was a sacred place and often sacrifices were made on the altar in the center of the stage before the show. A show would take place once a year on a day of celebration of the god worshiped in the temple. According to the Greek culture, the god would be present the whole day of the show and the performance was considered a sacred duty which was paid for by the wealthy. In order to act in the play, the actors had to be totally pure for they were channeling their character. Actors would use a staff and wear a wreath to convey this. The actors would wear red ornamental cloaks and stone masks that belonged to the treasure or the sanctuary, these were early [[Theater in London#Props| props]] (Stricker, 1955) (Bieber, 1971)<ref> Stricker, B. (1955). The Origin of the Greek Theatre. The Journal of Egyptian Archaeology,41, 34-47. doi:10.2307/3855235</ref>. <ref>Bieber, M. (1971). The History of the Greek and Roman theater. Princeton: Princeton University Press. </ref> Not only did the actors have to be in a state of purity, only the clean and pure public could attend this performance. They too would wear decorative cloaks and wreaths to celebrate the sacred day. Costumes were very important to conveying the story due to the fact that it would reveal the gender and social status of the character. Costumes in the Roman theater overlapped quite a bit int that a cloak’s color denoted the status and sex or the character. They also wore masks. During the Elizabethan Era, clothing played a significant part to one's status in society. There were many laws dictating what a person could wear, so many plays had their actors wear clothes of the vernacular for the character. Therefore, the actors of queens and kings wore costumes that reflected that status and those of less important roles wore their own clothing. For plays that took place during the Roman and ancient Greek eras, actors wore togas over their normal clothes. Since costumes were very expensive, many companies reused old costumes (Costumes and Cosmetics, 2013, p. 1) . <ref> Costumes and Cosmetics. (2013) (1st ed.). London. Retrieved from https://www.shakespearesglobe.com/uploads/files/2014/01/costumes_cosmetics.pdf</ref><br> <br><br />
[[File: times-square-1457783_640.jpg|x250px|right|frameless|thumb| Major NY Shows]]<br />
Today costumes are designed by costume designers, who work closely with the director to make the director’s vision come to fruition. They often need to do a lot of research into who the character is and what time period he or she comes from. This research creates an authenticity to the character. A character wearing a crop top and a pair of short shorts would not be taken for women of status in the Victorian Era. The costume creates the character and that costume is iconic. Who would Glinda from "Wicked" be without her extravagant happy dresses? The costumes are more than just the clothing the actors are wearing. They include the shoes and accessories that are paired with the outfit. Costumes are meant to be used as an extension of the actor, which means that if two characters are polar opposites, their outfits will be totally different. It adds to the depth of the character. The costume designer then creates sketches of their proposed idea to share with the director. These costumes are then either approved or sent back with critiques. After the costume designs are approved, there is a lot of work to be done (Nusim, 2017) (Landis, 2014). <ref> Nusim, R. (2017). Character by Design (1st ed.). ACADEMY OF MOTION PICTURE ARTS AND SCIENCES. Retrieved from https://www.oscars.org/sites/oscars/files/costumes_and_makeup_activites_guide.pdf </ref><ref> Landis, D. (2014). COSTUME DESIGN DEFINING CHARACTER (1st ed.). The Oscars. Retrieved from https://www.oscars.org/sites/oscars/files/teachersguide-costumedesign-2015.pdf</ref><br />
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===Fabrics===<br />
[[File: towel-1838210_640.jpg|x250px|right|frameless|thumb| Different Fabrics]]<br />
Costumes come in many different shapes, sizes, and fabrics. This is one of the first things a designer has to think about when designing a costume. The material can affect the character’s movement, the actor’s comfort, the time period, and so much more. Fabric choice comes with much consideration and it is very difficult to choose with so many different fabric choices. One of the first fabrics of choice is wool. It is a fabric known for its warmth and itchiness, which is made from a variety of sheep furs. Even though many find wool to be itchy, wool comes in a variety of different types and not all of them are itchy. The fabric is very spongy and an insulator, but the reason many like wool is its ability to absorb up to 30 percent of its weight in water and not feel wet. Along with its water holding ability, wool is also dirt, tear, and flame resistant. This fabric may be worn by a character who is a sheep farmer in Ireland. Another natural and widely used fabric is cotton. It is a light, cool, and soft material that is used often. Cotton comes from the cotton plant and is stronger wet than dry. It can withstand high temperatures and is more breathable than wool. Silk is another fabric used in theater. It is a natural fiber that is spun by silkworms and is considered a fabric of wealth and success. Silk absorbs moisture in the summer and is warm in the winter, which makes it perfect to wear on stage. Due to its ability to retain moisture, silk is easily dyed and shapes well to a person’s body. Linen, not to be confused with cotton, is another widely used fabric. It is produced from the fiber of the flax stalk and is two to three times stronger than cotton. Linen has a unique luster that comes from its inherent nature and is easily dyed. Other fabrics that are synthetic and likewise also cheaper include polyester, rayon, acetate, and nylon. They have many of the same characteristics of natural fabrics, but they are less natural and prone to wrinkle, stain, and shrinkage (Caver, 2012, p. 306- 309).<ref>Carver, Rita Kogler. Stagecraft Fundamentals Second Edition: A Guide And Reference For Theatrical Production. 2nd ed. Burlington, MA and Jordan Hill, Oxford, UK: Focal Press, 2012. Print. </ref><br />
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===Tools, Accessories, and Sewing === <br />
Once the fabric of the costume is chosen, the fabric(s) has to be put together by sewing or other methods. In order for the fabric to be transformed into a costume, the seamstress must be familiar with the tools necessary to create a costume. Tools such as measuring tapes and patterns assist the costume designers to accurately take the measurements of the actor or actress. Once the measurements for the garment are determined, the designer will start working with either a pre-existing pattern or creating a pattern from scratch. A pattern is a template on which a garment can be cut from to form the specific shape desired. They are often made of paper and traced onto the fabric. To create new patterns, patterns may be combined or a sloper tool can be used. Sloper tools provide generic shapes that can be modified to form a new pattern. After a pattern is created, it is pinned to the fabric and then cut by sewing scissors. These scissors can cut fabrics fast with their adjustability and are therefore more expensive than arts and craft scissors. The next step of the process is sewing the pieces together, which can be done with different types of thread that have as great a range as fabrics do. The chosen thread needs to have similar properties to the fabric. To make the costumes unique and complete, accessories such as belts, buttons, and zippers are added. They can change a one-dimensional costume into one fit for a king or queen, but these accessories must be kept organized in order for them to be found in a timely fashion. Some other important tools are seam rippers, which can cut a seam when a stitch needs to be undone without damaging the fabric, and tailor’s chalk, which is used make marks on fabric. (Caver, 2012, p. 309- 317). Finally, after all of these steps have been completed, the fabric can be sewn together to create the costume. Most costumes are sewn by sewing machines, with intricate details sewn by hand. Some of the stitches sewn are quite easy, however many are difficult and require much skill. One commonly used stitch is the overlocking stitch. It is used to combine two edges of the fabric to create a hem on the inside that appears seamless when flipped inside out. The overlocking stitch is considered to be very versatile with it being used for everything from decoration to reinforcement to the construction of a fabric. Once the costumes are completely sewn they are then fit to the actor or actress to ensure a total fit. Interestingly, more complex costumes are initially made of muslin, a very inexpensive fabric, and are fitted to the actor so that the exact measurements can be used during the construction of the real costume. The creation of a costume is a multifaceted process that takes a design from paper to real life. It is difficult, but costumes are essential to a show for they aid the viewer in imagining and fitting the actors or actresses into the roles they play (Caver, 2012, p. 323- 334) <ref> Carver, Rita Kogler. Stagecraft Fundamentals Second Edition: A Guide And Reference For Theatrical Production. 2nd ed. Burlington, MA and Jordan Hill, Oxford, UK: Focal Press, 2012. Print.</ref>.<br />
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===Types=== <br />
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Costumes have come a long way from dresses, togas, and suits. As culture has invited new and exciting shows to the theater, costumes have had to change with the culture. Today’s theater productions have definitely proven to be a challenge for costume designers. There is now a myriad of shows of different time periods, themes, and ethnicities, which can be seen by the 2017 Tony nominees and shows that are currently popular. A prime example would be the Tony-winning "Natasha, Pierre & The Great Comet of 1812", which is an excerpt from Leo Tolstoy’s "War and Peace" about the affair of Natasha with Anatole and Pierre’s existential search for meaning <ref> S. (n.d.). The Great Comet - Official Broadway Site. Retrieved June 13, 2017, from http://greatcometbroadway.com/</ref>. Natasha is a charismatic young Russian woman of status engaged to marry her beloved fiancé Andrey, but while he is away at war she is sent to live with a godmother where she is seduced by an unknowingly married man. Natasha’s costume is white for innocence and is fitting of women of status in Russian during the early 1900’s. All of the costumes are a mixture of timepieces with modern clothing. This can add the idea that "War and Peace" is not just a very long novel with little to do with society today. Natasha’s story is a timeless tale of love, lies, and scandal, so the costumes must accent the characteristics of the characters and make them believable. Another Tony Award-winning show that has a completely different costume design is "The Lion King". "The Lion King" is a very different show about finding one's identity and is loosely based on Hamlet. This is a very difficult show to design for because the characters are animals. It is very hard to mimic the movement of an animal, so the designers worked to make costumes move with the movement of the actors and dancers. They utilized both masks and puppetry to create the movement of many of the animals. Timon and Pumbaa are life-size puppets that are connected to the actors. These shows show the great range of costumes that exist today in theater and the different styles and techniques used. <br />
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===Current Practices===<br />
Tours of the [[National Theater]], [[Royal Opera House]], and Royal Shakespeare Company gave insight into how costumes are currently dealt with. The trend is that the costumes department is divided into sub-departments. These subdepartments take care of creating the costumes, caring for the costumes during their show's run and managing them after the show has finished. During a production, the costumes must be cleaned after performances to keep them in good condition for the actors. This is especially important when a costume is dirtied during the performance. If the character gets a blood stain during the show, it cannot be there at the start of the next performance. In addition, any damage such as a tear in a costume must be repaired. After a show, the costumes are typically labeled with the name of the show they were from, the actor who wore it and the character they played. These costumes are organized and stored in the theater company's costume shop. The costumes can be rented by theater companies, film companies such as the BBC and sometimes the public for use. This enables more money to be earned back from the costs of the show. The Royal Shakespeare Company occasionally has auctions that are open to the public where the costumes are sold off for under £75.<br />
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== Hair and Makeup==<br />
===History and Design ===<br />
Makeup was not used in Greek and Roman theater due to the fact that the masks that they wore were designed to portray the emotions and character traits the characters had. (ref) It was not until the time of Queen Elizabeth that makeup was frequently used. The makeup of the actors was very important due to the fact that not only did it create the character, it also disguised their identity as a man. The actors were painted with white face makeup that sometimes consisted of a mixture of vinegar and white lead, “ceruse”, which was highly poisonous. The white was important because it represented the faces of the rich and royal due to the fact that they did not have to go outside to work. The standard for beauty was a pale white complexion, bright red cheeks and lips, kohl lined eyes, and a blond wig. This would usually be put on a young boy when he was transformed into the character of a beautiful young woman. To make characters shimmer, like characters in Shakespeare’s “A Midsummer Night’s Dream”, crushed pearls and silver would be applied to their makeup (Costumes and Cosmetics, 2013, p. 2) <ref> Costumes and Cosmetics. (2017) (1st ed.). London. Retrieved from https://www.shakespearesglobe.com/uploads/files/2014/01/costumes_cosmetics.pdf </ref>. Modern stage makeup did not really appear until the 1920’s and 1930’s and was started by Max Factor. Max Factor was the person who coined the term makeup and his son was credited with many innovations in makeup. They started the lip gloss, cake makeup, pan-stick makeup, the original cover-up makeup, and the first waterproof makeup (Carver, 2012, p. 339) <ref> Carver, Rita Kogler. Stagecraft Fundamentals Second Edition: A Guide And Reference For Theatrical Production. 2nd ed. Burlington, MA and Jordan Hill, Oxford, UK: Focal Press, 2012. Print. </ref>. Today stage makeup is created by many companies and comes in a variety of different shapes and sizes. They are used in a myriad of different techniques to achieve looks that portray different time periods, people and in some cases animals. The makeup signifies the character’s health, age, and liveliness and also adds to his or her illusion. Together the costume designer and hair and makeup designer work together to flush out and create a cohesive look for the character they are creating. With enough makeup, one can create themselves into a person they are not. An actor can be given an older, younger, sicker, healthier, prettier, plainer, or clearer look. People tend to go heavier on makeup when doing stage makeup than everyday makeup due to the fact that stage lights wash out a normal skin color making it much lighter (almost sheet white). This makes it hard for viewers at a distance to see the fine details of the makeup. To have an effective makeup design, the makeup must project the character to the audience (Gillette, 1999, p. 432-434) <ref> Gillette, J. M. (1999). Theatrical design and production: an introduction to scene design and construction, lighting, sound, costume, and makeup. New York, NY: McGraw-Hill. </ref> <br><br />
When designing makeup, one must keep in mind that they are changing the actor into the character. They have to do a great deal of research to get the character right because it is easy to spot what character is out of place. It was said by Richard Corson that the “makeup suggests genetics, environment, health, disfigurements, fashion, age and personality” (Gillette, 1999, p. 432) of the character. Therefore, it is important to accurately represent the character through their makeup. Makeup can also indicate if a person has been exposed to the elements based on the skin’s color and texture. One can also see if the character has deformities, both accidentally and genetically, which add to the personality of the character quite a bit. A rule of thumb for eccentric makeup is that if the character is eccentric then make it eccentric, if not then stick to the time period. When creating characters of different ages, younger skin tends to have better color with a firmer feel and older skin has a looser feel with less color and more wrinkles. The personality of a character is also portrayed in the makeup with a happier person having smile lines and a grumpier person having a perpetual frown. These are all good things to keep in mind when doing the makeup design and aid in achieving the look that is trying to be accomplished (Gillette, 1999, p. 432-434). <br><br><br />
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===Facial shapes===<br />
Facial shapes have great importance when doing makeup due to the fact that faces are always balanced. Therefore, the makeup must be balanced with the face as well. Faces come in in six different classes of shapes, which are pear, oval, heart, long, round, and square. Depending on one’s facial shape, makeup should be applied differently to highlight its features. Oval faces are considered to be perfectly symmetrical due to the fact that it is wide at the cheekbones and slopes down to a more pointed chin. The heart shaped face is much more different due to the fact that the top of the face is more rounded and then it has a more pointed or triangle shaped chin. It is also known as a triangle face shape. A pear-shaped face is much like a pear. It has a smaller forehead with a gradually larger face down to a wide chin. The square facial shape is the most common face shape. It has more of an oblong shape until the chin, where it’s more like a tilted right angle. A round face shape is very similar to an upside down pear shape face, but the chin is more rounded. The last face shape is the long face shape which is like an elongated oval face shape with higher cheekbones. The face shapes of the actors are necessary for a makeup designer to know when designing a character's makeup as it determines what parts of the face gets highlighted or shadowed. It‘s also important to know other faces when changing a person’s face shape to fit a character (Carver, 2012, p. 340). <ref> Carver, Rita Kogler. Stagecraft Fundamentals Second Edition: A Guide And Reference For Theatrical Production. 2nd ed. Burlington, MA and Jordan Hill, Oxford, UK: Focal Press, 2012. Print. </ref>. <br> [[File: face.JPG|x250px|center|frameless|thumb| |caption = Various Face Shapes (Carver, 2012, p.340 FIG.13.1)]] Various Face Shapes (Carver, 2012, p.340 FIG.13.1) <br><br><br />
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===Tools=== <br />
Makeup tools are very important to creating a character’s look due to the fact that they are what is used to transform the actor's face into the character's face. Makeup artists utilize brushes of different sizes, shapes, thicknesses, and styles. They all have a purpose and a designer will have many. Flat brushes are very good for blending colors together due to the fact it gives you a great amount of control when adding and removing pigment. An angle brush is really important for doing eye shadows and precise lines near or around the eye. Dome brushes are really good for blending and applying concealer under a person’s eyes whereas round brushes are good for eyeshadow and brows. There are detail brushes and powder brushes which add small details and blend well. Foundation brushes are used to apply and smooth foundation, which covers the majority of the face. The last brush to be covered is the contour brush. This brush is used to highlight and shadow the face so the person looks like they have higher cheek bones. It is also used to reconstruct the face to the right face shape. It is apparent that there are many brushes with different purposes and different artists have different uses for any given brush. They are all correct though! People have different uses for different brushes. Brushes are not the only tool that makeup artists use. Artists use spatulas to apply scar wax and thicker products, which is mixed with a plastic palette. A powder puff is usually used to apply powder or blot. Different types of sponges are used to blend and apply crème makeup. As a rule of thumb, the more porous the sponge the more texture is going to be applied to the skin. These are just some of the tools makeup artists use and there is much more to explore. (Carver, 2012, p. 341- 343) <ref> Carver, Rita Kogler. Stagecraft Fundamentals Second Edition: A Guide And Reference For Theatrical Production. 2nd ed. Burlington, MA and Jordan Hill, Oxford, UK: Focal Press, 2012. Print. </ref>. <br><br><br />
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=== Types of Makeup===<br />
====Cake Makeup==== <br />
This is the most commonly used type of makeup and it comes in both dry and moist compacts of pigment. They come in a variety of colors and shades matching every skin color. Cake makeup additionally comes in a variety of highlights and shadows to contour the actor’s face. To apply this makeup, artists moisten a makeup sponge or brush and then wipe it across the cake. It is then applied to the face. However, if the sponge is not wet enough the makeup won’t apply. If the sponge is too wet, the makeup will be too opaque. An actor should have a clean face when this is being applied. Usually, the highlights and shadow are applied over the foundation, but to get a more muted effect it can be placed under the foundation. Cake makeup does not need setting powder to prevent the makeup from smudging and sweating off (Gillette, 1999, p. 436-437). <br><br />
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==== Crème Makeup====<br />
Crème makeup is a non-greasy makeup that is often applied with a sponge, brush, or fingers. Unlike cake makeup, crème makeup does not require a damp tool. It can be used with cake makeup, but it does require setting powder. For easier usage, this makeup comes in sticks and crayons (Gillette, 1999, p. 437-438).<br><br />
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==== Liquid Makeup ====<br />
This makeup is not usually used for the face, but for the body. The use of a name brand theater makeup is not necessary because store bought types work just as well. One drawback of this makeup is that it dries more quickly than other makeups, which makes it difficult to blend when more than one color is used (Gillette, 1999, p. 439). <br><br />
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==== Dry Makeup ==== <br />
Dry makeup is classified as makeup that is dry when applied. This makeup is not usually used as a standalone makeup. It is usually used in conjunction with greasepaint and cake makeup. A common dry makeup is face powder, which is used to set a face. Though, if in a pinch, it can be used as a quick foundation. Any excess is dusted off with a fluffy brush (Gillette, 1999, p. 439). <br><br />
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==== Greasepaint ====<br />
Greasepaint was the first form of makeup before good quality crème and cake makeups were created. It was originally the most commonly used face makeup. It is quite translucent and available in a multitude of colors. It is applied with the fingertips and stippled to create a multidimensional layered effect, however, each layer needs to be set with setting powder. It clogs the pores and makes the person sweat even more than normal when under the bright lights of a stage (Gillette, 1999, p. 439). <br />
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<gallery mode="packed"><br />
Image:makeup-brush-1746322_640.jpg|''Brushes''<br />
Image:creme.JPG|'' Ben Nye crème foundations (Carver, 2012, p.340 FIG.13.9)''<br />
Image:cosmetics-259181_640.jpg|''Highlighter and Brushes''<br />
</gallery><br />
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===Application technique===<br />
==== Highlights and shadowing====<br />
To create a multidimensional look, makeup artists take advantage of shadowing and highlights. They are used to make a person look older, younger, sicker, or healthier. Contrasting colors, such as brown and bright ivory, are used to draw attention to one part of the face while reducing attention on another part. One can create harsh angles by making harsh lines and smooth harsh lines by blending lighter colors (Gillette, 1999, p. 440-441). <br><br />
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==== Stippling ====<br />
Stippling is the act of dabbing or patting makeup rather than stroking it on the face. It is often done using a brush or sponge and it roughens the texture of the skin. The appearance of larger pores are produced by a larger pored sponge and can also be used to create the look of acne. To create a more natural look two or more colors are stippled together. If a shadow or highlight is too heavy it can be stippled with a base to create a natural look (Gillette, 1999, p. 442). <br />
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{{Infobox<br />
|title = Power of Makeup<br />
|bodystyle = width:20em<br />
|image = [[File:nvo.JPG|x450px|alt=Milestone Image]]<br />
|label1= Thanks to<br />
|data1= [[User:Nbloniarz|Natalie Bloniarz]]<br />
}}<br />
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===Special Makeup ===<br />
Sometimes an actor does not have the same exact features of the character they are playing. When this is the case, products such as nose putty, derma wax, latex, and prosthetics are used to modify the actor's features and achieve the character's appearance. Not everyone has a crooked nose or a facial scar so makeup artists must get creative when a character does have an irregular feature. Nose putty is used to give a different shape to the actor’s nose, chin, or other inflexible facial feature. The putty is shaped onto the face of the actor and is glued onto the skin with spirit gum to create more security. It is then painted with makeup to match the skin tone and stippled to give texture. Derma wax is similar to nose putty but is does not adhere as well so spirit gum is absolutely necessary for adhesion to the face. It is more easily molded and adding cotton adds to its structure. It is painted similarly to nose putty. Latex is one of the more used special effects because it can be used to make bald caps, eyebrow masks, and wrinkles. However, the drawbacks of latex include that it is difficult to remove and, if applied to hair, the hair must be shaved off and people can be allergic to latex. Latex does create a nice smooth layer that can be built up with makeup though. When creating these parts are too much, prosthetic noses, chins, and others pre-made features can be purchased. They are sometimes needed to complete the look (Gillette, 1999, p. 443-50). <br><br><br />
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===Hair=== <br />
Hair styling finishes off a character's appearance. Often use wigs are used to achieve the character's hair, but sometimes the actor’s actual hair is styled too. The hair style must match the style and length of the time period to create a believable and authentic character. The hair can be dyed, curled or braided to match the time period. If the character is a flapper from the 1920’s then she would have a bobbed hairstyle and a man of the same time would have a slicked back middle part. It takes a lot of research and time to create the perfect look for the character’s hair. <br><br><br />
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==Poster & Promotion==<br />
Theater advertising is an often neglected area of study but critical to putting on a show. After all, there is no show without an audience to see it. The promotional methods were influenced by the technology of the time. During the Middle Ages, the most effective advertising was word of mouth. The performers and town criers would announce performances to the town. Additionally, the sound of drums and trumpets were used to indicate a performance. Descriptions of the show were also written out, given to people and attached to posts in the town. This led to the name poster. At the time of early theater in London, printers started to be given licenses to print playbills or posters for shows. These were handed out to people. In addition, there would be a drum procession through town and a flag raised at the theater to indicate a show. Just before a performance, a trumpet would sound three times. As printing technologies improved over time, so did the posters. Actors also started to expect their names to appear on these posters. Circuses led a new development for these posters. They introduced using illustrations as it was a natural way to promote with all the animals present. Introducing images to posters created new appeal and draw for those who were illiterate. The next advancement was the introduction of color to the illustrations. The posters became an art form. They started creating larger advertisements created by printing the design across many pages and posting them all up together in the proper configuration, like a puzzle. Posters grew so important that stock posters were developed for popular shows. The quality of the posters improved as the technology did but experienced little improvement during the World Wars. The Pop Art movement brought life back to the posters. Advertisers started bringing in television stars to create more draw. Posters would feature iconic images that could also be used for marketing. While posters are not as important as they once were, they are still a key part of advertising for performances. <ref>Theatre posters. Retrieved from http://www.vam.ac.uk/content/articles/t/theatre-posters/</ref> Walking around London, posters for the current shows are hung everywhere. They line the underground stations. The West End also serves as its own advertising. Walking through the area, the buildings are plastered with billboards and posters displaying what is showing. There is also a free guide that is distributed called the Official London Theatre Guide which began in 1922. It contains information on all of the upcoming shows as well as theater and tourist information. E-marketing is also important. Online advertisements can create a draw. Subscribers may receive notification emails about shows and offers as well as an e-newsletter. After all this time though, word of mouth still remains powerful. The hype created for shows such as "Wicked", "The Lion King", and especially "Hamilton" right now, draw in audiences and create high demand for shows.<br />
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=Section 2: Our interpretation of The Play that Goes Wrong =<br />
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''The Play that Goes Wrong'' is a hilarious play that follows a production group attempting to put on a play called ''Murder at Haversham Manor'', a 1920's murder mystery. However, Cornley Polytechnic Drama, the group putting on the murder mystery, has had a difficult time with prior shows, so the expectations are set pretty low for the play they are producing now. Due to the fact that this a play inside of a play the stage tech are seen scrambling to fix things and become part of the actors. The stage tech also interacts with the audience the whole time giving the feeling that you are watching the ''Murder at Haversham Manor'' and all of the mess ups that an unprofessional and accident prone theater may face. For our deliverable, we explored the scenic, lighting, sound, costume, makeup, and promotional aspects that went into the performance we saw on "The Play That Goes Wrong" and created our own interpretations of how to put on the show in regards to each department. These interpretations are largely based on what we saw at the performance, what worked and what we felt could be improved as well as the research we did in our background.<br />
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==Scenic==<br />
[[File:Stage Right- sm- JR.JPG|thumb|right|x500px]]<br />
Designing the set for "The Play That Goes Wrong" is a unique process because it is a play within a play. As the designer for "A Play That Goes Wrong" the overall set design must be considered. However, the show is a performance of an amateur theater company attempting to perform a show. Therefore, to establish the set on the visual level, the designer must act as the designer for that company. The set must be designed to look like it was designed for the murder mystery show. Furthermore, it must reflect the styles and resources of the amateur theater group. Therefore, the set would appear to be low budget and not a refined, high quality. For this part of the design, I am basing the set on the board game Clue as it is a classic example of a murder mystery that many people can recognize. Once the basic visual design of the set is established based on the murder mystery play, design considerations for "The Play That Goes Wrong" must be looked at. This includes all of the special effects that are used to make it look like the murder mystery play is going terribly wrong. The most important tool we will be using is electromagnets. Throughout the show, the set literally falls apart. Wall hangings fall down, the second story floor collapses and the walls themselves fall down. We plan to achieve these effects through the use of electromagnets that can be turned on and off. When, for example, a wall decoration should be hanging, the magnet will be turned on. When it is time for the decoration to fall, the magnet can simply be turned off. This enables simple, on-demand control of the set failures. From a booth, the magnets can be switched on and off and perhaps even integrated into the cue system. When the second story floor collapses, the fall is controlled by mechanics behind the set. The platform is supported by cantilevered beams. Backstage, these beams are held up in a system that lets them pivot and lock into place in several positions. The beams begin the show horizontal. When the floor first fails, the position can be released, and drop in a controlled manner through the use of a motor, into the next position it can lock into. This can be repeated as the platform continues to fall. In addition, the show makes use of a bit of pyrotechnics when the garbage bin catches fire. This would be the responsibility of specialists as fire is a safety hazard.<br><br />
Actually designing the set in Solidworks proved to be a good lesson in the difficulties of set design. In the model, it becomes very apparent how tricky it is to make sure every seat has a good view of the set. The proscenium arch itself quickly blocks out the view of the audience as they start to move off to either side. This requires the set to be further forward on the stage to improve visibility. Secondly, designing the side walls of the room quickly turned into an issue. In order to improve visibility, I turned the left wall out towards the audience. Instead of a 90 degree with the back wall, it is at an 118-degree angle. However, I realized the same could not be done with the other wall. This is because the floor of the second level has to be able to swing down but, if it is made with an angle greater than 90 degrees, it will not have clearance on the side. In addition, the same problem of visibility would occur that I sought to eliminate on the other side. That is also ignoring the fact that having one side turned out but not the other would create a very oddly shaped room. It is at this point that I revisited the original set. My set had already been based on it a bit, as the story line and set were closely related meaning that the set couldn't be changed too much and still have the lines and action work. The set pieces had to be able to fail certain ways in order to fit with the story. When I looked at the set again I realized how the designer played with perspective. The back wall was actually split into sections that enabled them to bend it so each side wall could be angled out without the back wall seeming warped. Therefore, set design is not nearly as simple as creating an image in your head of the scene and putting it on the stage. In the rendering of my simplified set, some of my ideas for modification to the original set can be seen. First of all, while the rendering does not contain all the details, the concept is still for the set to be less elegant than the original set. This fits with the theme that the theater company within the show is low budget and amateur. Secondly, the furniture and color scheme were inspired by the board game Clue. In particular, the couch was designed after couches seen on the board game in the lounge and study. The wall color was also based on the game and the light color is meant to keep the area appearing open and large as light colors make spaces seem larger.<br />
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==Props==<br />
The props are very important to the show due to the fact that they add to the humor of the play within the play. The play itself is called ''The Play That Goes Wrong'' and that's what is shown to the audience. The missteps and malfunctions of the Cornley Polytechnic Drama group that go horribly wayward are captured. Below are some of the important props that make the show a comedic success. <br />
{{Infobox<br />
|title = collie<br />
|bodystyle = width:25em<br />
|image = [[File:dog-2286773_1280.png|x450px|alt=Milestone Image]]<br />
|label1= Painting prop<br />
|data1= royalty free image <br />
}}<br />
=== Picture of the Collie ===<br />
It may seem like an odd prop, but this picture is very important to some of the humor of the play. During the show, characters are interviewed by Inspector Carter to determine who killed Charles Haversham. When Cecil Haversham, the brother of the late Charles Haversham, is interviewed by Inspector Carter, the inspector looks at the picture above the broken mantel and asks if the picture of the dog is a portrait of the father. It is obvious that the wrong picture was put up during the set decoration and it shows how the production company producing the show is not at all organized. The conversation progresses and the detective asks if the recently departed Charles was the spitting image of his father, again depicted by the picture of the dog. I choose a picture of a silly looking dog to add to the funniness of the situation and allow the audience to try to picture the actor as a dopey looking dog. If I could get a picture made, I would have the dog holding a whiskey glass and playing cards. The prop has a magnet on it which keeps it attached to the wall and when the door gets shut at the end of the act all of the stuff hanging on the walls falls off by the disengagement of the magnets. This adds to the dysfunction of the show and makes everyone laugh. <br />
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{{Infobox<br />
|title = "white spirit"<br />
|bodystyle = width:12em<br />
|image = [[File:glass-565914_640.jpg|x450px|alt=Milestone Image]]<br />
|label1= Drinkable prop<br />
|data1= royalty free image<br />
}}<br />
=== White Spirit and Whiskey bottles ===<br />
Fake alcohol is often used in theater to liven the mood and add to the plot. As said earlier, props can be something that is edible or drinkable on stage, so the “liquor” does count under the umbrella term of props. During the show, after Charles Haversham’s death, the characters decide to grab some of Charles’s whiskey to calm down. The lines say that the first bottle grabbed is empty but the actor grabs the full bottle so he pours it out. Then when the character grabs the bottle that is supposed to be full it is the empty bottle previously looked for. It is obvious that when the two bottles were placed they were switched or the actor got the bottles from the wrong places. Either way, the scene shows the cast and the production company’s incompetence. The murder mystery inside of the show is just so bad it’s funny. The next problem is that there is no liquor for the cast to drink during the following scene. Instead, the stage manager hands out a few glasses with a bottle of unknown “white spirit” that looks like some cleaning detergent. When the actors are forced to take a drink they all spit it out because of it, of course, tastes terrible. For these props, I will have two generic whiskey bottles, one full of a brownish liquid and one empty. For the “white spirit” handed to the actors as an alternative, I will have a glass bottle with a do not drink sign on it to make sure that the audience understands the mistake and why the actors are spitting the liquid out. <br><br />
{{Infobox<br />
|title = vintage couch<br />
|bodystyle = width:12em<br />
|image = [[File:couch-1952918_640.png|x450px|alt=Milestone Image]]<br />
|label1= Furniture props<br />
|data1= royalty free image<br />
}}<br />
=== Couch ===<br />
The couch is another classic piece of furniture used on the stage. The show takes place during an engagement party on a cold December night during the 1920’s. Therefore, the couch is in the style of that time period. The couch is at the center of the stage and it the center of the drama due to the fact that is where Charles Haversham’s body is found. There is nothing really special about the couch other than having collapsing legs. For the set, I would have a couch that looks like it’s from that time period and has it placed in the center of the stage to attract attention to it. <br />
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{{Infobox<br />
|title = stretcher<br />
|bodystyle = width:25em<br />
|image = [[File:vintage-1636373_640.jpg|x450px|alt=Milestone Image]]<br />
|label1= Illusion Prop<br />
|data1= royalty free image<br />
}}<br />
=== Stretcher ===<br />
A stretcher is another weird prop to find on stage, but props are meant to have attention drawn to them. During the show, the stretcher is used to lift away the dead body, but this stretcher is from the 1920’s. It is basically two long horizontal poles with canvas that is sewn with holes to put the poles through. The funny part of the show is that, when the actors are trying to pick up the body, the two poles rip from the canvas leaving the body and the rest of the canvas under the body. The “dead” body Charles then grabs the poles with his arms and legs to be carried off the stage. It is really funny due to that fact that no matter what the actors do, nothing goes right. To create the stretcher, I would take two seven foot wooden poles and sew the canvas to fit around the poles with enough room to cradle a body inside. I would then have the base Velcroed so that it would imitate ripping when the body is lifted. <br />
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==Lighting==<br />
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[[File:Lighting_The_Play_that_Goes_Wrong.jpg|500px|alt=Image ]]<br />
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The lighting design for ''The Play that Goes Wrong '' is used to add to the comic timing and the absurdity of the play. As previously stated, the show is performed by an amateur theater company who has had several attempts at performing shows such as "Cats" and "James and the Peach" with each show resulting in failure. They are determined to make this show called, ''Murder at Haversham Manor'' a success. The wash for this play remains constant throughout the entire play and there are some attempts to make the lightning fancier with spotlights and flashes of red for dramatic effect. The stage is a stage on a stage, which sounds confusing. The diagram above displays what the stage looks like with the lights and their position on the batons and side mounting infrastructure. The scene of the play does not change and takes place in a living room and study on a cold winter's night as well as behind the set.<br />
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Starting with the lights that are between the fake backstage and backstage, our plan is to use PAR 64 strip lights with ROSCO 81 Urban Blue with Diffuser. The Urban Blue color is a great color to imitate a very cold, brittle scene. There is a diffuser to dampen the coolness and imitate an amateur lighting designer's attempt at making the set cool. These lights will be shining straight downward creating the cool winter scene. For the wash, backwash and side wash, we will use the Source 4 PARNel WFL, the Source 4 PAR MFL and Chauvet LED PAR 64 fixtures. The WFL is to light the wide stage, but because they are to have a wide dispersion of light, the color will be lacking in color intensity. The MFL is also to light the stage; it will have a greater color intensity, but will only have a throw distance of the front of the stage. There will be ROSCO 02 Bastard Amber and ROSCO 4830 CC 30 Pink gels in the fixtures since these colors are excellent on every skin tone and create a happy, warm tone. We have several fixtures meant for spotlighting actors; the Q500NSP (PAR 56 NSP) and ETC 405 (5-degree Source Four). The ETC fixture is meant to spot someone centered on the stage and the QS500NSP is meant to spot someone who is on the left and right middle of the stage. These lights do not have gels because white light is sufficient to spotlight any character. The last two fixtures are the MAC TW1. These are dynamic fixtures meaning that they have a certain degree of rotation in the x and y-axis. They are able to track moving people and can display a CMY spectrum of colors. These will be used for the few scenes of attempted fancy lighting. The angles of the lights that are listed in the table below are only approximate; there is a high chance, that when the master electrician is hanging and focusing the lights, the angles will change.<br />
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There are only a few scenes with "fancy lighting", so the rest is leaving the wash up on the set. These scenes include the opening of the play and during a scene in the beginning where the dead body is found. However, an actor doesn't make his cue and the effect is repeated two or three times as the entire cast repeats that there has been a murder. In the opening of the play, there is a spotlight where the "director" of the play is supposed to stand in to present his play, but he is only half in the light because he did not step forward enough to be in the light. We plan to use the ETC 405 fixture to shine a spot on the stage and have it focused so that we miss the actor. Our plan for the actor who is supposed to be dead on a couch is to use one of the MAC TW1 to shine a spot on him while he is still getting into his place. Lastly, when the cast says "murder", we plan to use both of the MAC TW1s to flash red on the group of actors on the center of the stage. <br />
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===Lighting Details===<br />
{| class="wikitable" width="80%"<br />
! Name<br />
! Angle<br />
! Colour<br />
|-<br />
! scope="row"| Chauvet LED PAR 64<br />
| align="center"| 135<br />
| align="center"|ROSCO 02 Bastard Amber<br />
|-<br />
! scope="row"| Chauvet LED PAR 64<br />
| align="center"| 225<br />
| align="center"| ROSCO 02 Bastard Amber<br />
|-<br />
! scope="row"| Q500NSP (PAR 56 NSP)<br />
| align="center" |135<br />
| align="center" |No Need<br />
|-<br />
! scope="row"| Q500NSP (PAR 56 NSP)<br />
| align="center" |135<br />
| align="center" |No Need<br />
|-<br />
! scope="row"| ETC 405 (5 degree Source Four)<br />
| align="center" |0<br />
| align="center" |None<br />
|-<br />
! scope="row"| Par 64 Strip (WFL)<br />
| align="center" |0<br />
| align="center" |ROSCO 81 Urban Blue with Diffuser<br />
|-<br />
! scope="row"| Par 64 Strip (WFL)<br />
| align="center" |0<br />
| align="center" |ROSCO 81 Urban Blue with Diffuser<br />
|-<br />
! scope="row"| Par 64 Strip (WFL)<br />
| align="center" |0<br />
| align="center" |ROSCO 81 Urban Blue with Diffuser<br />
|-<br />
! scope="row"| Par 64 Strip (WFL)<br />
| align="center" |0<br />
| align="center" |ROSCO 81 Urban Blue with Diffuser<br />
|-<br />
! scope="row"| Par 64 Strip (WFL)<br />
| align="center" |0<br />
| align="center" |ROSCO 81 Urban Blue with Diffuser<br />
|-<br />
! scope="row"| Source Four PARNel WFL <br />
| align="center" |90<br />
| align="center" |ROSCO 02 Bastard Amber<br />
|-<br />
! scope="row"| Source Four PARNel WFL <br />
| align="center" |270<br />
| align="center" |ROSCO 02 Bastard Amber<br />
|-<br />
! scope="row"| Source Four PARNel WFL <br />
| align="center" |30<br />
| align="center" |ROSCO 02 Bastard Amber<br />
|-<br />
! scope="row"| Source Four PARNel WFL <br />
| align="center" |15<br />
| align="center" |ROSCO 02 Bastard Amber<br />
|-<br />
! scope="row"| Source Four PARNel WFL <br />
| align="center" |0<br />
| align="center" |ROSCO 02 Bastard Amber<br />
|-<br />
! scope="row"| Source Four PARNel WFL <br />
| align="center" |345<br />
| align="center" |ROSCO 02 Bastard Amber<br />
|-<br />
! scope="row"| Source Four PARNel WFL <br />
| align="center" |335<br />
| align="center" |ROSCO 02 Bastard Amber<br />
|-<br />
! scope="row"| Source Four PARNel MFL<br />
| align="center" |15<br />
| align="center" |ROSCO 4830 CC 30 Pink<br />
|-<br />
! scope="row"| Source Four PARNel MFL<br />
| align="center" |0<br />
| align="center" |ROSCO 4830 CC 30 Pink<br />
|-<br />
! scope="row"| Source Four PARNel MFL<br />
| align="center" |0<br />
| align="center" |ROSCO 4830 CC 30 Pink<br />
|-<br />
! scope="row"| Source Four PARNel MFL<br />
| align="center" |350<br />
| align="center" |ROSCO 4830 CC 30 Pink<br />
|-<br />
! scope="row"| Martin Mac TW1<br />
| align="center" |20<br />
| align="center" |No Need<br />
|-<br />
! scope="row"| Martin Mac TW1<br />
| align="center" |340<br />
| align="center" |No Need<br />
|-<br />
|} <br />
<ref>"Source Four ® 5 ̊ Ellipsoidal Series". Texas Scenic. N.p., 2017. Web. 14 June 2017.</ref><br />
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==Sound==<br />
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[[File:Sound_The_Play_that_Goes_Wrong.jpg|500px|alt=Image ]]<br />
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The sound design for ''The Play that Goes Wrong'' is not very complex and was purposefully done this way. The cast is made up of only 8 members who have only spoken parts. There is one cast member, who acts as the sound board operator and director, who seems to wear a Clear-Com looking headset that does end up projecting through the speakers. Characters will each have a microphone pack that will be projected out through 4 speakers that are hung on vertical struts. These speakers will have 90 degree dispersion, with 45 degrees of dispersion on each side of the axis. Two of the speakers will be located at the front orchestra section mounted at 45 degree angles from where they are mounted. This will project the sound to the first level of the theater. The other two smaller speakers will be mounted on the wall at the front of the second level and will be lined up against the wall. The diagram above shows the design. <br />
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In the show there are multiple sound effects that go off throughout the show. In the table below, the act, scene, name and file is presented. These are the sounds we would pick if we were to produce the show. We are using YouTube videos that were converted into MP3 files. The references section has the links to the videos.<br />
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{| class="wikitable" width="80%"<br />
! Act <br />
! Name<br />
! Listen<br />
|-<br />
! scope="row"| 1<br />
| align="center"| Creaking Door<br />
| align="center"| <mp3player>File:WoodDoor.mp3</mp3player><br />
<ref>Wood Door Creak Open Sound Effect. (2014). https://www.youtube.com/embed/U3Hqd6fw-i8. </ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Door Slam<br />
| align="center"|<mp3player>File:DoorSlam.mp3</mp3player><br />
<ref>Door Slam Sound Effect (Download Link). (2012). https://www.youtube.com/watch?v=fNNhE0Cz2QY.</ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Dramatic Music<br />
| align="center"|<mp3player>File:Suspense.mp3</mp3player><br />
<ref>Suspense Sound Effects. (2016). https://www.youtube.com/watch?v=ziobtd9JTtk.</ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Flame Lighting<br />
| align="center"| <mp3player>File:Fire.mp3</mp3player><br />
<ref>Fire sound effect (3). (2011). https://www.youtube.com/watch?v=Zmw32wCGWuc.</ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Body Hitting the Ground<br />
| align="center"| <mp3player>File:Bodyeffect.mp3</mp3player><br />
<ref>Body Fall SOUND EFFECT - Körper fällt zu Boden SOUNDS. (2015). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Telephone Ringing<br />
| align="center"| <mp3player>File:Old_phone_-_sound_effect.mp3</mp3player><br />
<ref>old phone - sound effect. (2012). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Drawing Sword<br />
| align="center"| <mp3player>File:Draw_sword_sound_effect_(2).mp3</mp3player><br />
<ref>Draw sword sound effect (2). (2012). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Sword Clashing<br />
| align="center"| <mp3player>File:Sword_clash_sound_effect_(1).mp3</mp3player><br />
<ref>Sword clash sound effect (1). (2012). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Gun Shot<br />
| align="center"| <mp3player>File:MLG_Gun_Shot_Sound_Effect.mp3</mp3player><br />
<ref>MLG Gun Shot Sound Effect. (2016). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Crash<br />
| align="center"| <mp3player>File:LOUD_CRASH_SOUND_EFFECT.mp3</mp3player><br />
<ref>LOUD CRASH SOUND EFFECT. (2015). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Dramatic Music Repeat<br />
| align="center"| <br />
|-<br />
! scope="row"| 1<br />
| align="center"| Dramatic Music Repeat<br />
| align="center"| <br />
|-<br />
! scope="row"| 1<br />
| align="center"| ''Girls on Film'' by Duran Duran<br />
| align="center"| <mp3player>File:Duran_Duran_-_Girls_On_Film.mp3</mp3player><br />
<ref>Duran Duran - Girls On Film. (2010). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 2<br />
| align="center"| Dramatic House Music<br />
| align="center"| <mp3player>File:Open.mp3</mp3player><br />
<ref>🎹 Trevor DeMaere - Opening Stargate (DramaticEpic Orchestral Music). (2012). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 2<br />
| align="center"| Paper Scattering<br />
| align="center"| <mp3player>File:Papers_Falling_SOUND_Effect.mp3</mp3player><br />
<ref>Papers Falling SOUND Effect. (2016). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 2<br />
| align="center"| Clock Chiming<br />
| align="center"| <mp3player>File:Clock_chimes_12_Sound_Effect_(SUPERB).mp3</mp3player><br />
<ref>clock chimes 12 Sound Effect (SUPERB). (2012). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 2<br />
| align="center"| Knocking on Wooden Door<br />
| align="center"| <mp3player>File:Loud_Knocking_on_Door_Sound_Effect.mp3</mp3player><br />
<ref>Loud Knocking on Door Sound Effect. (2014). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 2<br />
| align="center"| Telephone Ring Repeat<br />
| align="center"| <br />
|-<br />
! scope="row"| 2<br />
| align="center"| Doorbell Rings<br />
| align="center"| <mp3player>File:Door_Bell_Sound_Effect.mp3</mp3player><br />
<ref>Door Bell Sound Effect. (2015). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 2<br />
| align="center"| Vase Shattering<br />
| align="center"|<mp3player>File:Glass_Vase_Shattering_Sound_Effect.mp3</mp3player><br />
<ref>Glass Vase Shattering Sound Effect. (2014). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 2<br />
| align="center"| ''Rio'' by Duran Duran <br />
| align="center"| <mp3player>File:Duran_Duran_-_Rio.mp3</mp3player><br />
<ref>Duran Duran - Rio. (2009). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 2<br />
| align="center"| House Music<br />
| align="center"| <mp3player>File:Duran_Duran_-_The_Reflex.mp3</mp3player><br />
<ref>Duran Duran - The Reflex. (2009). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
|} <br />
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==Costumes and Hair and Makeup ==<br />
Costumes, hair and makeup are being based on 4 main characters in ''The Play That Goes Wrong''. The characters have hair, makeup, and costumes based on their attributes and the situations that they are in. <br />
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{{Infobox<br />
|title = Annie <br />
|bodystyle = width:12em<br />
|image = [[File:unat.png|x360px|alt=Milestone Image]]<br />
|label1= Thanks to<br />
|data1= [[User:Nbloniarz|Natalie Bloniarz]]<br />
}}<br />
=== Annie === <br />
Annie is the company's stage manager who makes sure that the actors go on stage at the right time and that the whole backstage is taken care of. She can often be found around the stage trying to keep the show from falling apart. During the beginning of the show she can be seen fixing the broken set and she seems to be pretty well versed in the nuances of the stage and how to fix the stage. Her first costume would be her wearing a nondescript worn t-shirt and a pair of also worn jeans or overalls with a tool belt. This will give her the jack of all trades look. She would have little to no makeup on so as not draw any attention to her. Her hair would pulled up into either a ponytail or pigtails. Her second look (seen in the picture to the right) would be for when she has to take over the role of Florence Colleymoore due to an accidental head injury to the actress. They throw her on stage in the ill-fitting red flapper dress of Ms. Colleymoore, a slightly askew flapper wig right over top of her own hair with the ponytail or pigtails sticking out, and a hasty makeup job. The makeup is absolutely terrible and totally rushed. To achieve this look I first applied a base skin tone foundation and then added some contour on the cheeks to give them more definition. I put a darker concealer under the eye to give the impression of dark circles, which is the opposite of what is typically desired. The eyebrows were filled unevenly and eccentrically to show the haste in the makeup. The lips are smudged and overdone along with blush that covers too much of the cheek. Overall the look should scream overdone, rushed, and terrible, as seen in this picture.<br />
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<br />
{{Infobox<br />
|title = Trevor <br />
|bodystyle = width:12em<br />
|image = [[File:mben.png|x360px|alt=Milestone Image]]<br />
|label1= Thanks to<br />
|data1= [[User: Bjsecino|Benjamin Secino]]<br />
}}<br />
=== Trevor ===<br />
<br />
Trevor is the company's lighting and sound operator who makes sure the lighting and sound cues go on during the right part of the script. He is a bit absent minded during the show and can be seen running around fixing things or missing his cues. During the show, he accidentally calls over his com to the audience his notes, which are noting the error on stage to the stage manager, so that the audience notices it even more. One can see him missing sound and lighting cues while he is looking at his phone. Trevor also loses his Duran Duran CD, which he plays as a sound cue by accident and the CD is found in the final scene instead of an important ticket. His demeanor shouts “I don’t care” and tiredness. For his costume, I would have him wear all black, which is the usual technical crew member's outfit. I would leave the actor's natural hair since it adds nothing to the show. His makeup would emphasize under eye bags and would be as natural as possible while highlighting all of the person’s facial flaws. I would have him either grow some stubble or draw it own. To achieve this look I would start with a base foundation of his skin color, stipple highlight, and contour in order to shape his face a little. To create the illusion of wrinkles I would take two different colors, dark and light, and have him wrinkle his forehead. In the crevasses, I would put the darker color and on the top put the lighter color. I would then use a makeup sponge to blend the colors to make the look more natural. To create the stubble on a clean shaven face I would start with a darker foundation around his jawline and then speckle black dots in that area. Then I would blend until I got the desired look. Trevor’s final look would be one of not caring and gross exhaustion. <br><br />
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{{Infobox<br />
|title = Inspector Carter <br />
|bodystyle = width:12em<br />
|image = [[File:oben.png|x360px|alt=Milestone Image]]<br />
|label1= Thanks to<br />
|data1= [[User: Bjsecino|Benjamin Secino]]<br />
}}<br />
=== Inspector Carter (Chris) ===<br />
<br />
Chris is the actor who plays Inspector Carter during the show. Inspector Carter is an esteemed detective called to investigate the death of the healthy, wealthy, and soon to be married Charles Haversham. This show takes place during the 1920’s, so I decided that he should have the look of a 1920’s gentleman. For his costume, I will be taking inspiration from Sherlock Holmes and the quintessential gentleman of the 1920’s. So I would have him wear a pair of trousers, black leather shoes, white shirt, tie, and a long trench coat. This will give him the look of authority during a play that is quite literally falling apart at the seams. Inspector Carter’s hair, if possible, would be slicked back and combed with a part to one side. For the makeup, I would start out with a skin tone foundation and then highlight and contour his face to give him higher cheek bones to make him more proper looking. This would be smudged and blended with a makeup sponge. I would put some dark concealer inside his smile lines to make him look older and wiser. He would also have a small mustache, which could be modeled from Gomez Addams’ mustache. It would be drawn on by hand and then smudged with a brush. He needs to look prim and proper to add contrast to the lack of professionalism during the show. <br />
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{{Infobox<br />
|title = Florence Colleymoore <br />
|bodystyle = width:12em<br />
|image = [[File:bnat.png|x360px|alt=Milestone Image]]<br />
|label1= Thanks to<br />
|data1= [[User:Nbloniarz|Natalie Bloniarz]]<br />
}}<br />
=== Florence Colleymoore (Sandra)===<br />
Sandra is the leading lady of the ''Murder at Haversham Manor'' and plays Florence Colleymoore , the soon to be married fiancé of the late Charles Haversham. Her style is of a 1920’s flapper girl who is very seductive and suggestive. She would have a red dress with a modest neckline and that comes down to the mid-calf. It should look kind of cheap looking and be paired with a short kitten heel and skin tone tights. Underneath the dress, she should wear spandex shorts due to the fact she gets knocked out by a door during the middle of the first act and gets carried off through a stage window in the most ungraceful way. The spandex will ensure that the audience does not see more than they paid for. Her second outfit will be when she comes on stage in the spandex and a bra trying to take back the roll from Annie the stage manager. It will be clear that they stripped Sandra of her dress and wig to give to Annie. The makeup for Sandra would start with a skin tone foundation blended with concealer under the eyes. Next, I would stipple highlight and shadow into the face’s peaks and valleys to give the face a more multidimensional look. It should be blended so it does not look splotchy. The eyebrows should be drawn on at a medium darkness, accompanied by a pale eyeshadow. Eye makeup would be finished off with mascara and black eyeliner. I would lightly brush blush onto the apples of the cheeks and finish the whole look off with red lipstick. She will also be wearing a dark haired wig that has a blunt and short flapper hairstyle. Her appearance is important to the play due to the fact that she is one of the only female actors in the ''Murder at Haversham Manor''. She needs to stand out, but also look natural next to the rest of the cast.<br />
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==Poster & Promotion==<br />
[[Image:TPTGS Poster.jpg|thumb|right|x600px]]<br />
For promotion, I designed a poster that can be distributed through a variety of modes such as being hung up in the tube stations, hung around the West End, featured on online theater booking sites and social media. The design was meant to be simplistic and bold so it would catch people's attention and be easy to read quickly. I achieved this through high contrast colors and limiting the complexity of the poster. There are no small details or an abundance of colors to distract the eye from the message. The text is minimal, large, and easy to read. A small line of text can be added underneath the title to indicate the date without detracting from the title. That text would be white and in a basic font. The different elements of the poster are also based on themes of the show. To emphasize the theatrical aspects the font is similar to the one associated with Broadway, the page is framed by a theater marquee, and stage lighting casts a spotlight on the text. To emphasize the chaos of the show lights on the marquee are broken, half of the word "wrong" is falling down, one of the spotlights is broken and the other one is shining a bit too far right also casting more focus on the falling letters.<br />
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=Conclusion=<br />
<br><br />
A theater production is so much more than just the actors. Without the production team, there would be no show. The acting is only just the surface of what goes into a show. When putting on a show, all aspects of the production must be closely considered. The set must allow maximum visibility to the entire audience, be a functional space and contribute to setting the tone of the show. Lighting must highlight both the set and actors and establish tone. The sound system must give every audience member clear, audible sound. Costumes and makeup should give a visual representation of the characters while maintaining functionality for the actors. Finally, the promotional team must ensure that there is an audience to see the show. "The Play That Goes Wrong" simultaneously demonstrates what to do and what not to do. The fictional theater group in the show creates an unstable, unsafe set, misplaces props and misses an actor with their spotlight among other mistakes. However, the show as a whole features many aspects done right by the real-life theater company. The sound system, while simple, is effective and special effects are carried out in a safe manner. They manage to have the second floor of the set collapse in a safe manner. The set design, through subtly creating an angle in the rear wall, allows for good visibility of the entire set. <br><br />
Future research may compare other productions of "The Play That Goes Wrong". Long-term research includes how theater practices and technology evolve from where they are today.<br />
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=Attribution of Work=<br />
We all participated equally in the writing, research, and effort that was put into this large project. As a group, we went to see ''The Play that Goes Wrong'' and bought the play script to help mold the show into our own.<br />
<br><br />
==Katharine Conroy==<br />
In the background and deliverable, I wrote the sections on props, hair and makeup, and costumes. <br />
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==Lauren Conroy==<br />
I wrote the abstract, introduction, lighting background, sound background, and lighting deliverable.<br />
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==Justine Roy==<br />
I wrote the scenic background, promotions background, modern costuming practices, scenic deliverable, promotions deliverable, and conclusion.<br />
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=References=<br />
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<!--DO NOT COPY THE FEATURED CATEGORY CODE BELOW--><br />
[[Category:Featured Projects]]<br />
<!--ONLY LONDON HUA ADVISORS MAY USE THE FEATURED CATEGORY TAG ABOVE--></div>Kfconroyhttps://londonhuawiki.wpi.edu/index.php?title=Theater_Beyond_the_Actors&diff=19404Theater Beyond the Actors2017-06-22T15:48:57Z<p>Kfconroy: </p>
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<div>=Theater Beyond the Actors=<br />
by [[User:Lconroy|Lauren Conroy]]<br>[[User:Jaroy|Justine Roy]]<br>[[User:Kfconroy|Katharine Conroy]]<br><br />
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{{Infobox<br />
|title = Theater Beyond the Actors<br />
|bodystyle = width:25em<br />
|image = [[File:The Play That Goes Wrong- sm- JR.jpg|x450px|alt=Milestone Image]]<br />
|label1= The Play That Goes Wrong<br />
|data1= Duchess Theater <br />
}}<br />
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[[Category:Drama & Theater Projects]]<br />
[[Category: 2017]]<br />
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=Abstract=<br />
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This milestone looks at the elements that add to the success of a show, which includes scenic, props, lighting, sound, costumes, and poster & promotion. We explored what these elements were like in early theatrical performances in comparison to modern day performances. Some of our research came from attending several current plays in the West End as well as backstage tours of the [[National Theater]], [[The Globe Theater]], and the Royal Shakespeare Company. This information was implemented into our deliverable through our own technical design of the play, ''The Play That Goes Wrong'', which we attended on May 9th. <br />
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=Preface=<br />
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As a group, we had been very involved in theater at WPI. Two of our members were involved in a combination of acting, lighting, and scenic for the Showcase in D-Term. We had all taken various drama classes including, Theater Workshop and Introduction to Drama: Theatre on the Page and on the Stage and had been taught a lot about important dramas and what it takes to put on a show. We were excited to implement what we knew and what we would learn into our deliverable. <br />
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In order for any show to succeed, there must be a dedicated, creative, hardworking production team. This team has the capability of creating a show that can move the audience to laughter, tears or both. Every aspect of the production is important and the show would suffer if a portion was neglected. As a group, we discovered how much time and effort it takes to create a cohesive, successful play. Each department in the production team has to communicate with each other to assure that everything is consistent and does not clash with another department's design. Our main objective was to create a solid design for each department of the production team, specifically scenic, props, lighting, sound, costumes, and promotion. Based on our research, we were able to determine how to create our concepts using specific makeup, props, construction material and lighting fixtures. Our final designs embody all that we have learned through reading and watching "The Play that Goes Wrong" at the West End. <br />
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__TOC__<br />
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=Introduction=<br />
<br><br />
Theater is one of the oldest art forms that expresses thoughts and ideas through visual entertainment and performative elements. It stretches back to the time of the Romans and ancient Greeks with traditions continuing into modern day. Performances at theaters can leave audiences crying, laughing, beguiled and awe-inspired, but it takes teams of area specialized people to make sure these productions are successful. Technical groups such as scenic, props, lighting, sound, costumes, and poster & promotion aid in the creation of setting the perfect atmosphere for actors and actresses to deliver their lines and move audiences. These groups are the unsung heroes of what makes theater so spectacular.<br />
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The goal for this milestone is to create our own technical designs for ''The Play that Goes Wrong'' utilizing the information we learned from the background and by seeing the show. Each of us put our own spin on the scenic, props, lighting, sound, costumes, and promotion of the play. For each section, we have some type of physical diagram or photograph displaying what we would have done if we were put in charge of each technical department of the show. The results and a statement of why we chose to design our set, props, lighting, sound, costumes, or promotional item the way we did are placed in the deliverable section.<br />
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=Section 1: Background=<br />
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When people go to watch a show, they may think of the amazing acting and/or singing that is taking place. They ooh and aah at the magnificent story told by these actors and actresses, but little do they think of the unsung heroes behind the scenes who work tirelessly to make the characters look and perform the way they do on stage. There is much more to a show than just the actors. Behind the actors, there is a huge line of support crew contributing to every aspect of the show beyond the performers who, without them, the show would not be able to go on. These people belong to the groups of scenic, props, lighting, sound, costumes, and promotional aid. Below is an in-depth analysis of these technical groups that make shows come alive. <br />
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==Scenic==<br />
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The set is affected by a number of factors including theater style, the plot, the setting, the tone, the budget and the designer's imagination. <br />
===History & Techniques===<br />
Going all the way back to the ancient Greeks, their set was just a backdrop. It was designed to provide context for the show and give a place for the actors to hide offstage. In their later years, the backdrop developed to have doors for the actors to enter and exit. The Romans adopted the Greek style and not much changed for the Renaissance and Commedia Del'Arte eras. (Carver, 2009, p 4-11) Between the 16th and 19th centuries, set designs continued to develop. During this time, the wing and drop style came into being. Wings refer to the extension of the backdrop downstage on either side. These were also called legs. Above the stage, a border was added to round out the set. These changes had the added benefit of hiding the inner workings of the theater. Another popular style to emerge was the use of Periaktoi. Periaktoi were three-sided columns that would be arranged side by side. The backdrop would be divided into columns and put on one side of each Periaktoi. The Periaktoi could then be turned, sometimes with the use of a pulley system, to reveal a given backdrop. Flying effects also developed. A platform that was attached to a vertical track could be raised and lowered with pulleys. In an effort to disguise the system, a two-dimensional cloud would mask the platform. Trolley systems for moving set pieces also developed. The pieces would be attached to tracks under the stage that would be pulled along their path using ropes and a crank. This is also the time that the iconic trap door came into being. The door in the floor would open and actors could enter or exit via ladders or primitive elevator systems. The 18th century brought technology advances that enabled quicker transitions and a desire for more realism. This desire for a more realistic experience led to the box set. The box set typically is comprised of three walls, a ceiling, and a scenic ground row. Previous stages were made at an incline to aid in visibility and acoustics with the back of the stage at a higher elevation than the front. This was done away with in order to make the set appear more natural. The box set also led to the convention of the fourth wall. This division between the performance and the audience was furthered by masking the stage from the audience before the show with a curtain. While flying was phased out of style because it was unrealistic, casters (the wheels seen on shopping carts) became the primary means for moving scenery. The revolving stage also grew in popularity as it enabled quick scene changes. The set would be constructed on a platform, built as part of the stage, that could spin. The platform with the scenery would then spin to reveal new sets. (Carver, 2009, 194-196) All of this technology is the basis for current scenic design. While technology has advanced greatly since those time, many of the concepts are still used today. <ref>Carver, Rita Kogler. Stagecraft Fundamentals. 1st ed. Boston: Focal, 2009. Print.</ref><br />
<gallery mode="packed" heights=300p caption="Periaktoi"><br />
Image:Beach Periaktoi- sm- JR.JPG<br />
Image:Periaktoi Transition- sm- JR.JPG<br />
Image:Forrest Periaktoi- sm- JR.JPG<br />
</gallery><br />
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===Design Considerations===<br />
As I said previously, there are many factors that go into the set design. Clearly, there are many options available to scenic designers and they must choose those that best achieve their creative image within their constraints. Depending on the venue and the show, the budget can vary greatly. Broadway and West End shows have massive budgets that allow for costly effects. These shows can showcase expensive effects such as pyrotechnics and trap doors. On the other hand, the local theater will have a much smaller budget and will have to keep the set simpler or get quite creative with the resources they have. Another important factor is the style of theater. Most people are accustomed to the proscenium theater where all of the action takes place behind the proscenium arch. With a proscenium stage, the designer only needs to worry about the audience on one side of the stage and what can be seen at different angles to the stage. However, thrust stages that have the audience on three sides, arena stages with the audience on all sides and black box theaters that can have the audience theoretically anywhere require more careful consideration. It is easy to block the view for parts of the audience due to large scenic pieces. While a couch may be a useful place to sit, this could result in blocking the view for those situated behind or to the side of it if it is not carefully considered. Spectators' view should never be compromised unless for very good reason as every person is paying to see the show and should have a good experience. In addition, limited backstage space as a result of the style of the stage could limit set changes. (Carver, 2009, p 14-19) Naturally, the tone, setting, and plot of the show all contribute to the designer's vision for the set. The set must reflect the environment the show takes place in, be a functional space for the actors to work in and contribute to the feel of the show.<ref>Carver, Rita Kogler. Stagecraft Fundamentals. 1st ed. Boston: Focal, 2009. Print.</ref><br />
<gallery mode="packed" heights=150p><br />
Image:Proscenium- sm.jpg|Proscenium Stage<ref>By User:FA2010 (Own work) [Public domain], via Wikimedia Commons</ref><br />
Image:Thrust-sm.JPG|Thrust Stage<ref>By Wharton Center (Own work) [CC BY-SA 3.0 (http://creativecommons.org/licenses/by-sa/3.0)], via Wikimedia Commons</ref><br />
Image:Arena- sm.jpg|Arena<ref>By Savino Paolella [CC BY 2.0 (http://creativecommons.org/licenses/by/2.0)], via Wikimedia Commons</ref><br />
Image:Black Box.jpg|Black Box Theater<ref>See page for author [CC BY-SA 3.0 (http://creativecommons.org/licenses/by-sa/3.0)], via Wikimedia Commons</ref><br />
</gallery><br />
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===Design===<br />
While there is no mandatory process for set design, it typically includes many sketches and models of the design. This is important so the set designer can effectively communicate their vision for the set with the director and other departments to create a cohesive image. Early stages of design might be represented through sketches then renderings. As the design develops, a scale model of the set on the stage will be created. This allows for people to get a good idea of the space there is to work with. Audience views, lighting and functionality can be tested. Once the design is finalized, technical drawings will be sent out to the fabrication shops for it to be constructed. (Carver, 2009, p 197-205) When designing the set, not only are there the previously mentioned techniques and considerations for the designer to keep in mind, there are also artistic considerations. The first thing a designer might do is research the setting of the show. For example, if the show is set in the past, then the designer will want to capture the architecture of the time. Once they develop an idea of what the set should convey and the elements that it should contain, the designer must decide how to put it all together. In part, this may come from how an actor is supposed to move through the space. If the set is a house that the character walks through then it might be necessary that the kitchen and living room are located next to each other. However, much will be left to the designer's discretion. One rule of thumb is the rule of thirds. Imagine that the scene is divided into a three by three grid. Positioning focal points along the two imaginary horizontal and vertical lines creates an image that is supposed to be more visually appealing. It is typical for a person to just focus on the center of what they see. By creating the other focal points, it draws the viewer's attention to more of the scene and makes the image more interesting. Set design calls on many more features seen in art. Line style, color, texture, line weight, shape, pattern, scale, and shades should all be taken into account. Cool colors create a sad or mellow tone whereas warm colors are happier and more energetic. Straight lines can be harsh while curved lines are typically soothing. Bright colors indicate a happy mode while dark colors can be upsetting and mysterious. (Carver, 2009, p 33-73) Therefore, set design is a process of considering a variety of elements and determining the best way to combine them to achieve the desired effect. There is no one correct design.<br />
<ref>Carver, Rita Kogler. Stagecraft Fundamentals. 1st ed. Boston: Focal, 2009. Print.</ref><br />
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===Fabrication===<br />
Designing the set is still only just the beginning. Once the technical drawings are handed over, the set still needs to be created and there are a variety of ways to achieve this. Sometimes the drawings will specify details such as materials. Often times it is the decision of those making the set. Most of the time the set is not made of what the audience would expect. Large marble and brick structures could be painted wood. Stone or metal statues could be carved from foam. In the world of theater, nothing is as it seems. This is where the artistic skill of those creating the set comes in. A common set piece is the flat. A flat is essentially a painted piece of plywood or some other composite board. When painted correctly, the flat could appear to be much more than it is. Scenic artists have developed techniques for convincingly painting the appearance of different surfaces onto flats, backdrops and other scenic pieces. Marble is created by painting several layers of paint, according to certain complimentary color schemes, and swirling the paints. Brick is also achieved by layering paint. Often times clay or other mediums can be used to add texture beyond what painting can provide. This part of the process has endless possibilities. If an artist has a vision, they are sure to find some creative method of fulfilling it. (Carver, 2009, p 205-244)<br />
<ref>Carver, Rita Kogler. Stagecraft Fundamentals. 1st ed. Boston: Focal, 2009. Print.</ref><br />
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===Current Examples===<br />
National Theater's [[National Theater#Theater Space#Olivier Theater|Olivier Theater]] is set up for advanced scenic techniques and designs. The fly is 30 meters high and automated enabling quick and smooth set transitions. It has enough power to lift a double decker bus enabling them to store large scenic elements. The most notable technology they have is the drum under the stage. The drum spins enabling a rotating stage. In addition, it is split into two halves with each half being a stage lift. In the past, these lifts have been used to reveal the cross section of a ship in a production of "Treasure Island". The recent production of "Twelfth Night" made good use of the technology available. The set featured a revolving stage. There was a wedge that could rotate and split apart into different slices that would reveal the various sets. The revolving motion was also used to indicate motion and travel. For example, as the actors drove off stage at the end of the first scene, the stage also spun giving the cars more distance to travel as well as transforming the set. In addition, there were two trap doors used to reveal a hot tub and a fountain. A revolving stage was also used in the performances of "Harry Potter and the Cursed Child" at the Palace Theater. The effect was not as dramatic as in "Twelfth Night" where the entire set rotated. Instead, the revolving stage was used to create motion. Specific scenic elements were able to wobble back and forth or spin. For example, Hogwarts' moving stairs were able to spin to mimic their movement. Sometimes the stage would rotate to counter the movement of a character enabling them to walk further than they actually had. Other times characters would be moved without them walking. The set itself was simplistic in comparison to the spinning set seen at the National Theater. There was a backdrop and flats along each of the wings. These flats were on some sort of carriage system that enabled them to be slid side to side. This came in handy when the stage had to be transformed into the Forbidden Forrest. The flats were able to be slid into the stage space to create the trees. The set of "Don Juan in Soho" at the Wyndham's Theater was also notable. While much of it was created through the use of furniture and projections, the set underwent a radical change at the end of the show. The entire stage space was transformed when the sides of the stage swung outward. This created a wider image. The ceiling then tilted down towards the back of the stage which heightened the effect of the widening of the stage while focusing attention towards the back of the stage where actors were. The [[Royal Opera House]] also has a unique system for managing their set. They have a wagon system designed by Rolls Royce. When sets are delivered to the theater, they are stored in a conveyor system. When they are needed, the stage and set are placed on wagons that can slide into a spot on the permanent stage and be lowered hydraulically into place. This enables them to completely switch between the sets for two different shows in just twenty minutes. Furthermore, the Royal Opera House makes the entirety of their sets off-site in Thurrock. In contrast, National Theater makes roughly 60-80% of their sets. Their set building process takes place over just six to eight weeks. Parts will be constructed from scratch or bought and modified if it proves more economic and efficient. One trick they use when creating intricate or heavy set pieces is to use foam. For example, decorative molding that would take a long time to carve out was created by making a mold and filling it with expanding foam. The foam was then painted gold and appeared as if it was authentic. Unfortunately, despite all the work that goes into these sets, they cannot be reused due to the copyright on them. After the run of a production, they are put in storage until they are eventually recycled.<br />
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==Props==<br />
Props, simply put, are pieces of property of the theater company that enhances the set and story. It comes as no surprise that "prop" is just the shortening of property. Props range from elaborate falling chandeliers to plain coffee cups. It is an umbrella term for anything that is portable on stage and does not fall into any other category. Ironically, food and drink consumed on stage fall under the category of a prop. They are used to enhance the plot and characters or the show. Props have been used since the beginning of theater, most notably in Greek and Roman use of masks (Bieber, 1961, p.) <ref> Bieber, M. (1961). The history of the Greek and Roman theater: 2d ed., rev. and enl. Princeton, NJ: Princeton University Press. </ref> However, there is not a lot of history on props as they are often less memorable than a costume or wig, despite that many times they are the height of the tension or excitement in a show. Andrew Sofer demonstrates this best with the use of a prop gun as the medium of drama for a show’s plot. He uses the example of Henrik Ibsen’s “Hedda Gabler” to show the double meaning between killing time and how Hedda must kill herself to end time (Sofer, 2003 p. 167- 203). <ref> Sofer, A. (2003). The stage life of props. Ann Arbor, MI: Univ. of Michigan Press. </ref> He does an in-depth analysis of the symbolism of gun usage in different shows to kill not only one’s self but also all that it represented. One can see that props have a special place on a show’s stage and are necessary to communicate ideas important to the plot. <br />
<gallery mode="packed"><br />
Image:figs-1620590_640.jpg|''Edible Props'' Couleur. (2016). Fig photograph. Licensed under Creative Commons Zero on Pixabay.com<br />
<ref> Couleur. (2016, August 25). Fig [Photograph]. Retrieved from: https://pixabay.com/en/figs-red-coward-fruit-fruits-sweet-1620590/ </ref><br />
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Image: burning-money-2113914_640.jpg|''Flammable Prop''Intellectual. (2017). Prop photograph. Licensed under Creative Commons Zero on Pixabay.com<br />
<ref> Intellectual. (2017, January 24). Prop [Photograph].Retrieved from: https://pixabay.com/en/burning-money-dollars-cash-flame-2113914/ </ref><br />
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Image: glasses-543117_640.jpg|''Glasses'' Timbo84. (2014). Glasses photograph. Licensed under Creative Commons Zero on Pixabay.com<br />
<ref> Timbo84. (2014, November 23). Glasses [Photograph].Retrieved from: https://pixabay.com/en/glasses-ray-ban-black-sehhilfe-543117/ </ref><br />
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</gallery><br />
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==Lighting==<br />
===The Early History of Lighting in Theaters===<br />
The theaters of the ancient Greeks were always open and performances always took place during the day. They based the start time of the show on the position of the sun in the sky. That way, if darkness was needed, they would have the night sky. In Shakespeare’s time, theaters were moved indoors, so the candles were needed for lighting. The first type of candles used was called footlights because they were located near the actors’ feet. Traditionally, these lights were located on the downstage edge and apron of the stage. Eventually, just putting candles at the edge of the stage would no longer suffice as more control over lighting was desired. It was then discovered that putting a reflective surface behind the candle, between the audience and the actor, would intensify the light. To change the color of the lights, colored liquid would be placed between the footlight and actors. Gas became popular in the late 1700’s and the early 1800’s when it began to be pumped into buildings for lighting. This lead to the invention of the limelight. This device is created by directing a gas flame at a cylinder of calcium oxide. This invention was first used in London at the Covent Garden Theater. In the 1850’s, Joseph Swan, an English physicist, and chemist began working on a light bulb using carbonized paper filament in an evacuated glass bulb. This lightbulb had a low resistance and was not ideal for use in theater. Thomas Edison improved on Swan's design and created a high resistance lamp in a very high vacuum which could burn for hundreds of hours. The fluorescent lamp was created a little after the development of original light bulb. This is a gas-discharge lamp using electricity to excite mercury vapor. The excited mercury vapor produces a short-wave ultraviolet light that causes a phosphor to fluoresce, producing a visible light. Halogen lights are incandescent lights that use a tungsten filament sealed into a compact, transparent, quartz envelope. The envelope is filled with an inert gas and a small amount of halogen, which increases the life of the bulb. (Carver 270-279)<br />
===Conventional Fixtures===<br />
Conventional fixtures are non-moving lights usually hung off of a truss and batons. They are flown in and out to focus the lights on the stage so that performers and items can be spotlighted. <br><br />
All conventional fixtures have a lens, yoke, lamp housing, power cable, accessory holder, and a pipe clamp. At the front of each fixture is the accessory holder for gel frames and directly behind that is the lens holder. There are different types of lenses such as VSNP (very narrow spot), NSP (narrow spot), MFL (Medium Flood), and WFL (Wide Flood), which do as their names suggest. In the middle of a fixture is the yoke. This is used to angle the fixture to focus the light. At the end of the fixture are the lamp housing and the power cable. The housing allows you to change the lamp when it goes out. The cable allows you to connect the fixture to power. Some can even come with LED lamps. (Carver 280)<br />
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====Beam Projector====<br />
{{Infobox<br />
|bodystyle = width:25em<br />
|image = [[File:Beam.JPG|110px|alt=Image ]]<br />
|label2 = '''Description'''<br />
|data2 = Beam Projector Effect (WIKI Commons)<br />
}} <br />
This fixture has an open face and produces a narrow beam of light by using two reflectors. The primary reflector is located in the back of the fixture and is a flat parabolic reflector. In the front of the lamp is the secondary reflector which is spherical and reflects the light from the lamp. Towards the back is the parabolic reflector. The parabolic reflector collects the light from the lamp into intense parallel beams of light. (Carver 280)<br />
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====Scoop==== <br />
{{Infobox<br />
|bodystyle = width:25em<br />
|image = [[File:Scoop.jpg|130px|alt=Image ]]<br />
|label2 = '''Description'''<br />
|data2 = Scoop Fixture (WIKI Commons)<br />
}} <br />
These fixtures are open-faced units that have no lens. The housing for the light itself is ellipsoidal in shape and the inside of a scoop is painted white to reflect the light forward. There are few possibilities when focusing these lights because they can only pan or tilt. Some may joke that one may cook their act if they solely use these lights to light the stage. Scoops come in several sizes from 10 inches to 18 inches. (Carver 280-281)<br />
====Fresnel====<br />
{{Infobox<br />
|bodystyle = width:25em<br />
|image = [[File:Fresnel.JPG||140px|alt=Image ]]<br />
|label2 = '''Description'''<br />
|data2 = Fresnel Fixture (WIKI Commons)<br />
}} <br />
These lights are versatile because they can be used as a stage wash or to focus on a single character. Fresnel lights are soft-edged and have spherical reflectors in the back with sliders attached to the bottom to allow for easy focus. By adjusting the slider forward and backward the relationship of the reflector and the lamp to the lens is changed. Fresnels come in a wide range of sizes from 3 inches to 24 inches and are arguably one of the most used conventional fixtures. (Carver 281)<br />
====Source 4====<br />
{{Infobox<br />
|bodystyle = width:25em<br />
|image = [[File:S4.jpg|150px|alt=Image ]]<br />
|label2 = '''Description'''<br />
|data2 = Source 4 Fixture (WIKI Commons)<br />
}} <br />
The original name for this fixture is the ellipsoidal reflector spotlight or ERS. Many people also refer to it as a leko light, while some others call it a Source 4 because the is the most popular fixture from the ETC company. The Source 4 has an ellipsoid reflector and two lenses. This means the user can change the focus of the beam by changing the distance between the two lenses. Depending on the focus, the user can get a harder edge or softer edge. It is the most flexible and most used fixture in the industry. They also have rotational or stationary shutter barrels. By pushing the shutter into the fixture, the user can mask a portion of the light that comes through the fixture. The rotational shutter barrels allow users to shutter abnormal light angles. Exchangeable lens tubes that come in: 5°, 10°, 14°, 19°, 26°, 36°, 50°, 70°, and 90° can also be purchased. (Carver 281)<br />
====PAR====<br />
{{Infobox<br />
|bodystyle = width:25em<br />
|image = [[File:Para.jpg|150px|alt=Image ]]<br />
|label2 = '''Description'''<br />
|data2 = PAR Fixture (WIKI Commons)<br />
}} <br />
PAR is actually the name of the lamp that is in the fixture. It stands for parabolic aluminized reflector. The lamp and the reflector are sealed together with a lens which is then inserted into the back of a tube, or “can”, to help shape the beam of the light. Note: Some people call these fixtures PAR CAN. This fixture and the Source 4s are the two fixtures that use different lenses such as the VSNP, NSP, MFL, and WFL. Most PAR beams have an oval shape that can rotate to change the direction of each beam’s axis. Some of the newer versions allow you to separate the lamp from the lens, making them very similar to scoops. (Carver 281-282)<br />
====Strip Lights==== <br />
{{Infobox<br />
|bodystyle = width:25em<br />
|image = [[File:Strip.jpg|110px|alt=Image ]]<br />
|label2 = '''Description'''<br />
|data2 = Strip Light (WIKI Commons)<br />
}} <br />
These are large, bulky lights that usually remain in one place for multiple shows. They can have lights of multiple colors or just white lights. They are hung using C-clamps. Strip lights are used for general stage washes or to provide back lighting so the actors can see. (Carver 284)<br />
===Intelligent Fixtures===<br />
Intelligent fixtures are moving fixtures. They can also be hung off of a truss and batons or they can sit on stages and other flat surfaces. Their placement is important because they have a limited range of motion. Unlike conventional fixtures, intelligent fixtures require programming. They are addressed to the directory and is able to understand the user. They are more difficult to program than conventional lighting because they have more than one attribute per fixture that must be controlled. For concerts, these fixtures usually need a skilled live operator who knows what the performer is doing onstage and the cues for lighting changes. The most popular brand for these types of fixtures is Martin and the most popular fixtures are their MAC Auras, MAC 2000 profile/wash movie light and Seladore Desires.<br />
(Carver 285)<br />
===Controllers/Consoles===<br />
In order to raise and lower dimmable fixtures, users use control boxes called dimmers. Dimmer racks have patch bays where fixtures can be associated with a letter and a number to keep track of and control each light individually. A user may run DMX, digital multiplex, to run the lights off of a lighting console. <br><br />
Consoles take the patched lights and allow users to be able to control the lights as cues from shows. This process is tedious but adds so much depth. Imagine ''Defying Gravity'' without that beam of light that suddenly shows on Elphaba. The scene would have less impact without it. Cues are usually named after what scene and act they are in. Usually, a board operator is told when to play the cue by the stage manager via ClearComm. (Carver 288-289)<br />
===Accessories===<br />
GOBOs are different patterns that are cut out in metal and placed in a Source 4 using a GOBO holder. Shadows are cast by the GOBO to achieve the desired effect. Gels change the color of a light fixture without having to change the lamp bulb. They can be diffused with white and darkened with another color. A top hat helps reduce flare and cut out some excess light. Barn doors are placed in front of soft edge fixtures such as fresnels or PARs to block parts of light beams that spill into the border (Carver 289 291).<br />
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==Sound==<br />
===The Ancient Greeks===<br />
The Ancient Greeks are one of the first civilizations to create and build theaters for performances. Many theaters today use concepts and designs that were contrived by this group of people. The design of these theaters was quite simple, in fact, they were designed based on a circle. The diameter of a theater was often 80 feet in length, which is two times the size of most theaters today. In order for the sound of the actors to reach every one of the 12,000 people in the theater, the construction of the building had to be to specifically engineered for sound to travel up the stadium seating.<ref>Carver, Rita Kogler. Stagecraft Fundamentals Second Edition: A Guide And Reference For Theatrical Production. 2nd ed. Burlington, MA and Jordan Hill, Oxford, UK: Focal Press, 2012. Print.</ref> The first documented discussion of concerns about stadium acoustics versus view was brought about by the Roman Vitruvius in the first century BC. He presented the idea that a theater with acoustic dissonance, circumstance or resonance would be unsuitable for audiences and therefore actors. He proposed that careful attention must be made to the selection of the theater site and the type of performances that would occur there, whether they are acting or singing. It was Vitruvius who sparked the development of acoustics of Greek theaters, which spanned over two centuries.<br />
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{{Infobox<br />
|title = Sound Ray Paths<br />
|bodystyle = width:25em<br />
|image = [[File:Reflect.jpg|320px|alt=Image ]]<br />
|data2 = Figure 1 ''Auditorium Acoustics And Architectural Design'' by Michael Barron <br />
|label2= '''Description'''<br />
}} <br />
After an extensive trial-and-error process, the Greeks created a theater design that optimized the sound quality and volume for all members of the audience. Sound propagation in a Greek theater was essential to increase the volume. Every member of the audience would receive direct sound based on three reflections of sound; the reflection from the front of the horizontal orchestra, the reflection from the front chorus on the rear half of the orchestra, and the reflection for the actors on the raised stage.<br />
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Figure 1 illustrates the previously described reflection sequence. The reflection from the orchestra carries speech 40% further than without the modification. Greek theaters have the distinct feature of a steep seating rake, around 20 to 34 degrees. Although this is not confirmed, there is no doubt that the higher angles of incidence to the audience seating have a profound effect on the sound quality for the audience. Though these modifications aided in the increased volume of the actors, there had to be silence from the surrounding area of the theater and the audience for unassisted speech to be audible. This is why many theaters were located in urban locations.<ref>Barron, Michael. Auditorium Acoustics And Architectural Design. 1st ed. London: Spon Press/Taylor & Francis, 2010. Print.</ref><br><br />
{{Infobox<br />
|title = Mask Filter<br />
|bodystyle = width:25em<br />
|image = [[File:Polar2.JPG|320px|left|alt=Image ]]<br />
|data2 = Figure 2 ''The sound effect of ancient Greek theatrical masks '' by Fotios Kontomichos, Charalampos Papadakos, Eleftheria Georganti, John N. Mourjopoulos and Thanos Vovolis<br />
|label2= '''Description'''<br />
}} <br />
The most notable theater for its location is the isolated site of Epidaurus, which accommodated around 14,000 people and dates from around 350 BC. In the second century, this theater was considered the most perfect of all the Greek theaters. Seats at this theater reached distances of 70 meters from the front of the stage. How could sound reach the entire audience? The two factors that amplified the sound were masks and the theater design. With a distance that far, the actors used masks to act as a microphone to spread the sound of the actor's voice further. The masks, themselves, were constructed from hardened liquid stone and varied in design aspects such as whether they had open ears or an open mouth. Modern engineers have replicated these masks by creating mannequins that resembled the mask form and produced the type of sound that had come from these actors. The measurements they took produced a set of h<sub>θi</sub>(n) of discrete time impulse responses measured for different angle intervals with the mask on the mannequin. From there, the group was able to determine the corresponding magnetite frequency responses. The final results indicated that mask has the properties of an angle-dependent acoustic filter and the acoustic radiation of the actor's voice was significantly enhanced for the off-axis scenarios. <br />
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Figure 2 is based on the measurements from the manikin and shows the polar patterns for the mask filter and the mask radiation for octave bands centered at 0.25,1,2,4 and 8 kHz.<br />
The acoustics of the theater of Epidaurus were flawlessly tuned for each performance. Any sound produced in the orchestra was reflected and scattered around the theater of the hard limestone surfaces and ultimately reached the audience's ears. The reflected energy reached the listeners with a very small delay of 40 milliseconds. At all positions of the theater the most significant frequencies of the male speech, with a pitch ranging from 125-140 Hz, first vocal harmonics, at 250-420 Hz, and formants, from 300 HZ to 3 KHz, were amplified while keeping the richness and color of each voice. Any sounds that were outside of those ranges were filtered out to avoid the early beginnings of feedback.<br />
In order to see the effects of theater's specific design and the use of the mask working together, engineers denoted h<sub>TIRθ<sub>jrj</sub></sub>(n) as the discrete-time impulse response of the "theater-filter" and measured it for azimuth angles θ<sub>j</sub> and distances of r<sub>j</sub>. This combined impulse response, CIR, was then denoted at h<sub>CIRθ<sub>ijrj</sub></sub>(n) The resulting formula is able to calculate the acoustic results in terms of gain.<br />
<ref>Kontomichos, Fotios et al. "The Sound Effect Of Ancient Greek Theatrical Masks". ICMC. Athens: N.p., 2014. Web. 6 June 2017.</ref><br />
[[File: Stage.JPG|x320px|left|thumb| Plane Measurement and Coordinates for Theater Source and Receiver Positions and Masks]]<br />
[[File: Mask.JPG|x320px|right|thumb| Schematic diagram ]]<br />
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===21st Century Sound Systems===<br />
{{Infobox<br />
|bodystyle = width:25em<br />
|image = [[File:Soundsystem.png|320px|alt=Image ]]<br />
|label2 = '''Description'''<br />
|data2 = Sound System Diagram (WIKI Commons)<br />
}} <br />
Since the time of the Greeks, technology has evolved and become more advanced. The invention of electricity has played a key role in increasing the volume and quality of the actor's vocals. Acoustics refers to the sound quality of a room in reference to the overall audio quality without any sound amplification devices such as microphones and speakers. When creating a theater, the ambient noise that is surrounding the building or room when there is no planned audio must be considered. The Greeks dealt with this by having their theaters located in the middle of nowhere, but in today’s times, that would be utterly useless and unfeasible. Who would want to go to a play or musical in the Sahara Desert? That is why today many theaters pad their walls and make sure the stage is covered by a sound-absorbing curtain, which also doubles as an object to hide the cast until ready. Modern actors may not have learned the proper way to project their voice so that the audience in the back can hear. Modern-day sound systems have let actors and actresses become more lenient with projecting their voices because, with the adjustment of a gain knob and the increase of a slider, their volume is magically louder. Along with the actors and actresses on stage, there are orchestra reinforcements to add to the mood of a performance. However, there is a delicate balance between the actors and actresses and the orchestra because louder does not mean better. It is important to know the difference between amplification and reinforcement or the show could go horribly wrong. Amplifying denotes that the volume of an actor, actress or instrumentalist is increasing. Reinforcement is all about moving sound to create the perfect environment which requires a subtle touch. Amplification is noticeable whereas reinforcement shouldn’t be. Today's sound engineer must also account for the sound of background noise created newer technologies such as HVAC systems<br> (Carver 364)<br />
====PA Systems or Sound Systems====<br />
For a basic sound system, there are three main areas: input, output, and processing. Inputs are quite simple. They are the microphones that are connected via wires or wirelessly to a mixing console. The mixing console takes those inputs and can make pre-amplification changes on the microphone level signals to line levels. The signal then goes through equalization. Different filters can be applied to each microphone. This is helpful for equalizing different voices such as a female voice versus a male voice. Low pass filters are used on male voices so that any noise that comes through the microphone outside of the specified frequency is negated. Similarly, a high pass filter is used for female vocals. Level control is then used to process the signal and send it to the output. The output of a console is an amplifier, most commonly a speaker. The speaker converts the signal that is received into sound waves that people can hear and hopefully enjoy. Sound equipment has many variations. Inputs can include microphones (wireless, lavier, wired, wireless mic packs), contact pickups, magnetic pickups, laser pickups and optical pickups. Signal processors can include reverberation, delays, and amplifiers. Outputs can be loudspeakers (subwoofers, woofers, midrange, and tweeters) and headphones. The most important part is choosing the right equipment for the right show and location as well as speaker placement. For example, subs and heavy bass would not typically be used for a ballet. (Carver 366-367)<br />
====Microphones====<br />
{{Infobox<br />
|bodystyle = width:25em<br />
|image = [[File:Mic.JPG|320px|alt=Image ]]<br />
|label2 = '''Description'''<br />
|data2 = Different Types of Mics (WIKI Commons)<br />
}} <br />
The most basic function of a microphone is to pick up the sound and convert that acoustic sound to electrical energy. There are two main groups of microphones, dynamics, and condensers. Dynamic microphones are versatile, reliable, durable and, most importantly, affordable. The SM57 and SM58 are able to handle anything that life throws at it. The SM58 is used widely as a microphone for vocalists and is most notably identified by its ball grille. The SM57 is more for instrumentalists and can have a windscreen for heavy wind or breathing. Both the SM58 and SM57 are very similar in design and range and can be used interchangeably. Condenser microphones are more likely to be seen in theaters because they have an extremely versatile range. These microphones are quite special because they need 48-volt phantom power. On most mixers, the sound person must switch on phantom power to the assigned microphone. There are various styles of microphones because a handheld mic may not appeal to everyone. A lav or lavalier mic is very small and can be placed on a person’s shirt or in a person’s wig/hairline. Contact pickups are similar to microphones and are attached to instruments to pick up the sound through its vibrations. Pressure-response microphones are also used for instruments. They are mounted on a flat surface with an attached plate that increases gain.<br />
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Impedance of a microphone refers to the amount of resistance a microphone has to an audio signal. The lower the impedance, the less issues a microphone may have when using a longer cable and dealing with noise interference. Typically a lower impedance means a better-quality microphone, therefore a perfect choice for theater.<br />
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Gain deals with the amplification of a microphone through a sound system. If set up properly, meaning the system, microphones, and speakers, gain can be maximized. Handheld microphones have more latitude when it comes to gain versus its wireless counterpart. However, as the technology has gotten better, lavalier microphones have gotten smaller and better, but at a very high financial cost. Lav mics can be seen almost everywhere such as in theaters and on television news shows. The loop is sized for the person’s ear and a piece of tape is placed on their cheekbone and behind their ear. The pack is the hidden in the shirt making sure the person has enough neck room to not pull the mic off. <br />
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Area micing is a technique used for large bands or choirs. An array of floor microphones is placed on the ground and the board operator increases or decreases the gain as needed. For this, it is better to use an odd number of microphones which will provide the most options of which microphones to use at any given time. (Carver 364-368)<br />
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====Mixing Consoles====<br />
{{Infobox<br />
|bodystyle = width:25em<br />
|image = [[File:Mix.jpg|320px|alt=Image ]]<br />
|label2 = '''Description'''<br />
|data2 = Digital Mixing Console (WIKI Commons)<br />
}} <br />
All consoles work on the same concept. They take inputs, process the signal via equalizing, delays and reverberation, and transfer the audio to outputs. Each console is different with a given number of inputs and outputs as well as limits to the types of adjustments one may make to the audio signal. There are two types of consoles, analog and digital. Analog boards come in a range of sizes. Examples include the Mackie 1402VLZ4 14-Channel Compact Mixer and the GL4000. The drawback of these boards is that there are no equalizers, delays, or special effects, which are available on digital boards. Digital boards are the newest in sound engineering technology and are continually being developed. Digital consoles can be more flexible. Some digital boards have mobile device applications that allow a person to control the board from the stage instead of from front of house making equalizing easier and faster. (Carver 370)<br />
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====Speakers and Headsets====<br />
There are four types of speakers: tweeters, midrange, woofers, and subwoofers. Tweeters are meant for producing sound in the high-frequency range. Midrange speakers are designed to reproduce sound at midrange frequencies. Woofers are for low frequencies and subwoofers are to produce sounds at very low frequencies. Subwoofers are usually the speakers that make the floor shake at a dance party. Line arrays are groups of speakers that are hung vertically or horizontally. They have a very narrow spread of sound per speaker. Wedges or monitors are used by most musicians and vocalists so they can hear themselves throughout the performance. Selected sounds are mixed through the soundboards and then output through each wedge. Positioning the speakers is key because some speakers only have 90-degree dispersion. <ref>Mellor, N. (2017). Speaker Off Axis: Dispersion Specifications and Off-Axis Response Plots - Acoustic Frontiers. Acoustic Frontiers. Retrieved 18 June 2017, from http://www.acousticfrontiers.com/dispersion-specifications-and-off-axis-response-plots/</ref>The best positioning for these speakers is in pairs facing the corners of the space diagonal to them. <br />
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Headsets are used for stage managers and other run crew to know what is going on. They allow communication between the groups. Different groups can be on different channels like handheld radios. Clear-com is the most popular and is easily setup using XLR to the control box. It comes in wired and wireless versions. (Carver 371-377)<br />
<ref>Carver, Rita Kogler. Stagecraft Fundamentals. 1st ed. Boston: Focal, 2009. Print.</ref><br />
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==Costumes==<br />
=== History and Method ===<br />
Costumes are very important in transforming an actor into the character they are playing. Costumes are also used to set the scene of the play. For example, Victorian Era costumes will make the show appear to be set in the Victorian Era. Costumes have been used since the ancient Greeks and Romans. Greek theater was a sacred place and often sacrifices were made on the altar in the center of the stage before the show. A show would take place once a year on a day of celebration of the god worshiped in the temple. According to the Greek culture, the god would be present the whole day of the show and the performance was considered a sacred duty which was paid for by the wealthy. In order to act in the play, the actors had to be totally pure for they were channeling their character. Actors would use a staff and wear a wreath to convey this. The actors would wear red ornamental cloaks and stone masks that belonged to the treasure or the sanctuary, these were early [[Theater in London#Props| props]] (Stricker, 1955) (Bieber, 1971)<ref> Stricker, B. (1955). The Origin of the Greek Theatre. The Journal of Egyptian Archaeology,41, 34-47. doi:10.2307/3855235</ref>. <ref>Bieber, M. (1971). The History of the Greek and Roman theater. Princeton: Princeton University Press. </ref> Not only did the actors have to be in a state of purity, only the clean and pure public could attend this performance. They too would wear decorative cloaks and wreaths to celebrate the sacred day. Costumes were very important to conveying the story due to the fact that it would reveal the gender and social status of the character. Costumes in the Roman theater overlapped quite a bit int that a cloak’s color denoted the status and sex or the character. They also wore masks. During the Elizabethan Era, clothing played a significant part to one's status in society. There were many laws dictating what a person could wear, so many plays had their actors wear clothes of the vernacular for the character. Therefore, the actors of queens and kings wore costumes that reflected that status and those of less important roles wore their own clothing. For plays that took place during the Roman and ancient Greek eras, actors wore togas over their normal clothes. Since costumes were very expensive, many companies reused old costumes (Costumes and Cosmetics, 2013, p. 1) . <ref> Costumes and Cosmetics. (2013) (1st ed.). London. Retrieved from https://www.shakespearesglobe.com/uploads/files/2014/01/costumes_cosmetics.pdf</ref><br> <br><br />
[[File: times-square-1457783_640.jpg|x250px|right|frameless|thumb| Major NY Shows]]<br />
Today costumes are designed by costume designers, who work closely with the director to make the director’s vision come to fruition. They often need to do a lot of research into who the character is and what time period he or she comes from. This research creates an authenticity to the character. A character wearing a crop top and a pair of short shorts would not be taken for women of status in the Victorian Era. The costume creates the character and that costume is iconic. Who would Glinda from "Wicked" be without her extravagant happy dresses? The costumes are more than just the clothing the actors are wearing. They include the shoes and accessories that are paired with the outfit. Costumes are meant to be used as an extension of the actor, which means that if two characters are polar opposites, their outfits will be totally different. It adds to the depth of the character. The costume designer then creates sketches of their proposed idea to share with the director. These costumes are then either approved or sent back with critiques. After the costume designs are approved, there is a lot of work to be done (Nusim, 2017) (Landis, 2014). <ref> Nusim, R. (2017). Character by Design (1st ed.). ACADEMY OF MOTION PICTURE ARTS AND SCIENCES. Retrieved from https://www.oscars.org/sites/oscars/files/costumes_and_makeup_activites_guide.pdf </ref><ref> Landis, D. (2014). COSTUME DESIGN DEFINING CHARACTER (1st ed.). The Oscars. Retrieved from https://www.oscars.org/sites/oscars/files/teachersguide-costumedesign-2015.pdf</ref><br />
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===Fabrics===<br />
[[File: towel-1838210_640.jpg|x250px|right|frameless|thumb| Different Fabrics]]<br />
Costumes come in many different shapes, sizes, and fabrics. This is one of the first things a designer has to think about when designing a costume. The material can affect the character’s movement, the actor’s comfort, the time period, and so much more. Fabric choice comes with much consideration and it is very difficult to choose with so many different fabric choices. One of the first fabrics of choice is wool. It is a fabric known for its warmth and itchiness, which is made from a variety of sheep furs. Even though many find wool to be itchy, wool comes in a variety of different types and not all of them are itchy. The fabric is very spongy and an insulator, but the reason many like wool is its ability to absorb up to 30 percent of its weight in water and not feel wet. Along with its water holding ability, wool is also dirt, tear, and flame resistant. This fabric may be worn by a character who is a sheep farmer in Ireland. Another natural and widely used fabric is cotton. It is a light, cool, and soft material that is used often. Cotton comes from the cotton plant and is stronger wet than dry. It can withstand high temperatures and is more breathable than wool. Silk is another fabric used in theater. It is a natural fiber that is spun by silkworms and is considered a fabric of wealth and success. Silk absorbs moisture in the summer and is warm in the winter, which makes it perfect to wear on stage. Due to its ability to retain moisture, silk is easily dyed and shapes well to a person’s body. Linen, not to be confused with cotton, is another widely used fabric. It is produced from the fiber of the flax stalk and is two to three times stronger than cotton. Linen has a unique luster that comes from its inherent nature and is easily dyed. Other fabrics that are synthetic and likewise also cheaper include polyester, rayon, acetate, and nylon. They have many of the same characteristics of natural fabrics, but they are less natural and prone to wrinkle, stain, and shrinkage (Caver, 2012, p. 306- 309).<ref>Carver, Rita Kogler. Stagecraft Fundamentals Second Edition: A Guide And Reference For Theatrical Production. 2nd ed. Burlington, MA and Jordan Hill, Oxford, UK: Focal Press, 2012. Print. </ref><br />
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===Tools, Accessories, and Sewing === <br />
Once the fabric of the costume is chosen, the fabric(s) has to be put together by sewing or other methods. In order for the fabric to be transformed into a costume, the seamstress must be familiar with the tools necessary to create a costume. Tools such as measuring tapes and patterns assist the costume designers to accurately take the measurements of the actor or actress. Once the measurements for the garment are determined, the designer will start working with either a pre-existing pattern or creating a pattern from scratch. A pattern is a template on which a garment can be cut from to form the specific shape desired. They are often made of paper and traced onto the fabric. To create new patterns, patterns may be combined or a sloper tool can be used. Sloper tools provide generic shapes that can be modified to form a new pattern. After a pattern is created, it is pinned to the fabric and then cut by sewing scissors. These scissors can cut fabrics fast with their adjustability and are therefore more expensive than arts and craft scissors. The next step of the process is sewing the pieces together, which can be done with different types of thread that have as great a range as fabrics do. The chosen thread needs to have similar properties to the fabric. To make the costumes unique and complete, accessories such as belts, buttons, and zippers are added. They can change a one-dimensional costume into one fit for a king or queen, but these accessories must be kept organized in order for them to be found in a timely fashion. Some other important tools are seam rippers, which can cut a seam when a stitch needs to be undone without damaging the fabric, and tailor’s chalk, which is used make marks on fabric. (Caver, 2012, p. 309- 317). Finally, after all of these steps have been completed, the fabric can be sewn together to create the costume. Most costumes are sewn by sewing machines, with intricate details sewn by hand. Some of the stitches sewn are quite easy, however many are difficult and require much skill. One commonly used stitch is the overlocking stitch. It is used to combine two edges of the fabric to create a hem on the inside that appears seamless when flipped inside out. The overlocking stitch is considered to be very versatile with it being used for everything from decoration to reinforcement to the construction of a fabric. Once the costumes are completely sewn they are then fit to the actor or actress to ensure a total fit. Interestingly, more complex costumes are initially made of muslin, a very inexpensive fabric, and are fitted to the actor so that the exact measurements can be used during the construction of the real costume. The creation of a costume is a multifaceted process that takes a design from paper to real life. It is difficult, but costumes are essential to a show for they aid the viewer in imagining and fitting the actors or actresses into the roles they play (Caver, 2012, p. 323- 334) <ref> Carver, Rita Kogler. Stagecraft Fundamentals Second Edition: A Guide And Reference For Theatrical Production. 2nd ed. Burlington, MA and Jordan Hill, Oxford, UK: Focal Press, 2012. Print.</ref>.<br />
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===Types=== <br />
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Costumes have come a long way from dresses, togas, and suits. As culture has invited new and exciting shows to the theater, costumes have had to change with the culture. Today’s theater productions have definitely proven to be a challenge for costume designers. There is now a myriad of shows of different time periods, themes, and ethnicities, which can be seen by the 2017 Tony nominees and shows that are currently popular. A prime example would be the Tony-winning "Natasha, Pierre & The Great Comet of 1812", which is an excerpt from Leo Tolstoy’s "War and Peace" about the affair of Natasha with Anatole and Pierre’s existential search for meaning <ref> S. (n.d.). The Great Comet - Official Broadway Site. Retrieved June 13, 2017, from http://greatcometbroadway.com/</ref>. Natasha is a charismatic young Russian woman of status engaged to marry her beloved fiancé Andrey, but while he is away at war she is sent to live with a godmother where she is seduced by an unknowingly married man. Natasha’s costume is white for innocence and is fitting of women of status in Russian during the early 1900’s. All of the costumes are a mixture of timepieces with modern clothing. This can add the idea that "War and Peace" is not just a very long novel with little to do with society today. Natasha’s story is a timeless tale of love, lies, and scandal, so the costumes must accent the characteristics of the characters and make them believable. Another Tony Award-winning show that has a completely different costume design is "The Lion King". "The Lion King" is a very different show about finding one's identity and is loosely based on Hamlet. This is a very difficult show to design for because the characters are animals. It is very hard to mimic the movement of an animal, so the designers worked to make costumes move with the movement of the actors and dancers. They utilized both masks and puppetry to create the movement of many of the animals. Timon and Pumbaa are life-size puppets that are connected to the actors. These shows show the great range of costumes that exist today in theater and the different styles and techniques used. <br />
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===Current Practices===<br />
Tours of the [[National Theater]], [[Royal Opera House]], and Royal Shakespeare Company gave insight into how costumes are currently dealt with. The trend is that the costumes department is divided into sub-departments. These subdepartments take care of creating the costumes, caring for the costumes during their show's run and managing them after the show has finished. During a production, the costumes must be cleaned after performances to keep them in good condition for the actors. This is especially important when a costume is dirtied during the performance. If the character gets a blood stain during the show, it cannot be there at the start of the next performance. In addition, any damage such as a tear in a costume must be repaired. After a show, the costumes are typically labeled with the name of the show they were from, the actor who wore it and the character they played. These costumes are organized and stored in the theater company's costume shop. The costumes can be rented by theater companies, film companies such as the BBC and sometimes the public for use. This enables more money to be earned back from the costs of the show. The Royal Shakespeare Company occasionally has auctions that are open to the public where the costumes are sold off for under £75.<br />
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== Hair and Makeup==<br />
===History and Design ===<br />
Makeup was not used in Greek and Roman theater due to the fact that the masks that they wore were designed to portray the emotions and character traits the characters had. (ref) It was not until the time of Queen Elizabeth that makeup was frequently used. The makeup of the actors was very important due to the fact that not only did it create the character, it also disguised their identity as a man. The actors were painted with white face makeup that sometimes consisted of a mixture of vinegar and white lead, “ceruse”, which was highly poisonous. The white was important because it represented the faces of the rich and royal due to the fact that they did not have to go outside to work. The standard for beauty was a pale white complexion, bright red cheeks and lips, kohl lined eyes, and a blond wig. This would usually be put on a young boy when he was transformed into the character of a beautiful young woman. To make characters shimmer, like characters in Shakespeare’s “A Midsummer Night’s Dream”, crushed pearls and silver would be applied to their makeup (Costumes and Cosmetics, 2013, p. 2) <ref> Costumes and Cosmetics. (2017) (1st ed.). London. Retrieved from https://www.shakespearesglobe.com/uploads/files/2014/01/costumes_cosmetics.pdf </ref>. Modern stage makeup did not really appear until the 1920’s and 1930’s and was started by Max Factor. Max Factor was the person who coined the term makeup and his son was credited with many innovations in makeup. They started the lip gloss, cake makeup, pan-stick makeup, the original cover-up makeup, and the first waterproof makeup (Carver, 2012, p. 339) <ref> Carver, Rita Kogler. Stagecraft Fundamentals Second Edition: A Guide And Reference For Theatrical Production. 2nd ed. Burlington, MA and Jordan Hill, Oxford, UK: Focal Press, 2012. Print. </ref>. Today stage makeup is created by many companies and comes in a variety of different shapes and sizes. They are used in a myriad of different techniques to achieve looks that portray different time periods, people and in some cases animals. The makeup signifies the character’s health, age, and liveliness and also adds to his or her illusion. Together the costume designer and hair and makeup designer work together to flush out and create a cohesive look for the character they are creating. With enough makeup, one can create themselves into a person they are not. An actor can be given an older, younger, sicker, healthier, prettier, plainer, or clearer look. People tend to go heavier on makeup when doing stage makeup than everyday makeup due to the fact that stage lights wash out a normal skin color making it much lighter (almost sheet white). This makes it hard for viewers at a distance to see the fine details of the makeup. To have an effective makeup design, the makeup must project the character to the audience (Gillette, 1999, p. 432-434) <ref> Gillette, J. M. (1999). Theatrical design and production: an introduction to scene design and construction, lighting, sound, costume, and makeup. New York, NY: McGraw-Hill. </ref> <br><br />
When designing makeup, one must keep in mind that they are changing the actor into the character. They have to do a great deal of research to get the character right because it is easy to spot what character is out of place. It was said by Richard Corson that the “makeup suggests genetics, environment, health, disfigurements, fashion, age and personality” (Gillette, 1999, p. 432) of the character. Therefore, it is important to accurately represent the character through their makeup. Makeup can also indicate if a person has been exposed to the elements based on the skin’s color and texture. One can also see if the character has deformities, both accidentally and genetically, which add to the personality of the character quite a bit. A rule of thumb for eccentric makeup is that if the character is eccentric then make it eccentric, if not then stick to the time period. When creating characters of different ages, younger skin tends to have better color with a firmer feel and older skin has a looser feel with less color and more wrinkles. The personality of a character is also portrayed in the makeup with a happier person having smile lines and a grumpier person having a perpetual frown. These are all good things to keep in mind when doing the makeup design and aid in achieving the look that is trying to be accomplished (Gillette, 1999, p. 432-434). <br><br><br />
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===Facial shapes===<br />
Facial shapes have great importance when doing makeup due to the fact that faces are always balanced. Therefore, the makeup must be balanced with the face as well. Faces come in in six different classes of shapes, which are pear, oval, heart, long, round, and square. Depending on one’s facial shape, makeup should be applied differently to highlight its features. Oval faces are considered to be perfectly symmetrical due to the fact that it is wide at the cheekbones and slopes down to a more pointed chin. The heart shaped face is much more different due to the fact that the top of the face is more rounded and then it has a more pointed or triangle shaped chin. It is also known as a triangle face shape. A pear-shaped face is much like a pear. It has a smaller forehead with a gradually larger face down to a wide chin. The square facial shape is the most common face shape. It has more of an oblong shape until the chin, where it’s more like a tilted right angle. A round face shape is very similar to an upside down pear shape face, but the chin is more rounded. The last face shape is the long face shape which is like an elongated oval face shape with higher cheekbones. The face shapes of the actors are necessary for a makeup designer to know when designing a character's makeup as it determines what parts of the face gets highlighted or shadowed. It‘s also important to know other faces when changing a person’s face shape to fit a character (Carver, 2012, p. 340). <ref> Carver, Rita Kogler. Stagecraft Fundamentals Second Edition: A Guide And Reference For Theatrical Production. 2nd ed. Burlington, MA and Jordan Hill, Oxford, UK: Focal Press, 2012. Print. </ref>. <br> [[File: face.JPG|x250px|center|frameless|thumb| |caption = Various Face Shapes (Carver, 2012, p.340 FIG.13.1)]] Various Face Shapes (Carver, 2012, p.340 FIG.13.1) <br><br><br />
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===Tools=== <br />
Makeup tools are very important to creating a character’s look due to the fact that they are what is used to transform the actor's face into the character's face. Makeup artists utilize brushes of different sizes, shapes, thicknesses, and styles. They all have a purpose and a designer will have many. Flat brushes are very good for blending colors together due to the fact it gives you a great amount of control when adding and removing pigment. An angle brush is really important for doing eye shadows and precise lines near or around the eye. Dome brushes are really good for blending and applying concealer under a person’s eyes whereas round brushes are good for eyeshadow and brows. There are detail brushes and powder brushes which add small details and blend well. Foundation brushes are used to apply and smooth foundation, which covers the majority of the face. The last brush to be covered is the contour brush. This brush is used to highlight and shadow the face so the person looks like they have higher cheek bones. It is also used to reconstruct the face to the right face shape. It is apparent that there are many brushes with different purposes and different artists have different uses for any given brush. They are all correct though! People have different uses for different brushes. Brushes are not the only tool that makeup artists use. Artists use spatulas to apply scar wax and thicker products, which is mixed with a plastic palette. A powder puff is usually used to apply powder or blot. Different types of sponges are used to blend and apply crème makeup. As a rule of thumb, the more porous the sponge the more texture is going to be applied to the skin. These are just some of the tools makeup artists use and there is much more to explore. (Carver, 2012, p. 341- 343) <ref> Carver, Rita Kogler. Stagecraft Fundamentals Second Edition: A Guide And Reference For Theatrical Production. 2nd ed. Burlington, MA and Jordan Hill, Oxford, UK: Focal Press, 2012. Print. </ref>. <br><br><br />
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=== Types of Makeup===<br />
====Cake Makeup==== <br />
This is the most commonly used type of makeup and it comes in both dry and moist compacts of pigment. They come in a variety of colors and shades matching every skin color. Cake makeup additionally comes in a variety of highlights and shadows to contour the actor’s face. To apply this makeup, artists moisten a makeup sponge or brush and then wipe it across the cake. It is then applied to the face. However, if the sponge is not wet enough the makeup won’t apply. If the sponge is too wet, the makeup will be too opaque. An actor should have a clean face when this is being applied. Usually, the highlights and shadow are applied over the foundation, but to get a more muted effect it can be placed under the foundation. Cake makeup does not need setting powder to prevent the makeup from smudging and sweating off (Gillette, 1999, p. 436-437). <br><br />
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==== Crème Makeup====<br />
Crème makeup is a non-greasy makeup that is often applied with a sponge, brush, or fingers. Unlike cake makeup, crème makeup does not require a damp tool. It can be used with cake makeup, but it does require setting powder. For easier usage, this makeup comes in sticks and crayons (Gillette, 1999, p. 437-438).<br><br />
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==== Liquid Makeup ====<br />
This makeup is not usually used for the face, but for the body. The use of a name brand theater makeup is not necessary because store bought types work just as well. One drawback of this makeup is that it dries more quickly than other makeups, which makes it difficult to blend when more than one color is used (Gillette, 1999, p. 439). <br><br />
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==== Dry Makeup ==== <br />
Dry makeup is classified as makeup that is dry when applied. This makeup is not usually used as a standalone makeup. It is usually used in conjunction with greasepaint and cake makeup. A common dry makeup is face powder, which is used to set a face. Though, if in a pinch, it can be used as a quick foundation. Any excess is dusted off with a fluffy brush (Gillette, 1999, p. 439). <br><br />
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==== Greasepaint ====<br />
Greasepaint was the first form of makeup before good quality crème and cake makeups were created. It was originally the most commonly used face makeup. It is quite translucent and available in a multitude of colors. It is applied with the fingertips and stippled to create a multidimensional layered effect, however, each layer needs to be set with setting powder. It clogs the pores and makes the person sweat even more than normal when under the bright lights of a stage (Gillette, 1999, p. 439). <br />
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<gallery mode="packed"><br />
Image:makeup-brush-1746322_640.jpg|''Brushes''<br />
Image:creme.JPG|'' Ben Nye crème foundations (Carver, 2012, p.340 FIG.13.9)''<br />
Image:cosmetics-259181_640.jpg|''Highlighter and Brushes''<br />
</gallery><br />
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===Application technique===<br />
==== Highlights and shadowing====<br />
To create a multidimensional look, makeup artists take advantage of shadowing and highlights. They are used to make a person look older, younger, sicker, or healthier. Contrasting colors, such as brown and bright ivory, are used to draw attention to one part of the face while reducing attention on another part. One can create harsh angles by making harsh lines and smooth harsh lines by blending lighter colors (Gillette, 1999, p. 440-441). <br><br />
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==== Stippling ====<br />
Stippling is the act of dabbing or patting makeup rather than stroking it on the face. It is often done using a brush or sponge and it roughens the texture of the skin. The appearance of larger pores are produced by a larger pored sponge and can also be used to create the look of acne. To create a more natural look two or more colors are stippled together. If a shadow or highlight is too heavy it can be stippled with a base to create a natural look (Gillette, 1999, p. 442). <br />
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{{Infobox<br />
|title = Power of Makeup<br />
|bodystyle = width:20em<br />
|image = [[File:nvo.JPG|x450px|alt=Milestone Image]]<br />
|label1= Thanks to<br />
|data1= [[User:Nbloniarz|Natalie Bloniarz]]<br />
}}<br />
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===Special Makeup ===<br />
Sometimes an actor does not have the same exact features of the character they are playing. When this is the case, products such as nose putty, derma wax, latex, and prosthetics are used to modify the actor's features and achieve the character's appearance. Not everyone has a crooked nose or a facial scar so makeup artists must get creative when a character does have an irregular feature. Nose putty is used to give a different shape to the actor’s nose, chin, or other inflexible facial feature. The putty is shaped onto the face of the actor and is glued onto the skin with spirit gum to create more security. It is then painted with makeup to match the skin tone and stippled to give texture. Derma wax is similar to nose putty but is does not adhere as well so spirit gum is absolutely necessary for adhesion to the face. It is more easily molded and adding cotton adds to its structure. It is painted similarly to nose putty. Latex is one of the more used special effects because it can be used to make bald caps, eyebrow masks, and wrinkles. However, the drawbacks of latex include that it is difficult to remove and, if applied to hair, the hair must be shaved off and people can be allergic to latex. Latex does create a nice smooth layer that can be built up with makeup though. When creating these parts are too much, prosthetic noses, chins, and others pre-made features can be purchased. They are sometimes needed to complete the look (Gillette, 1999, p. 443-50). <br><br><br />
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===Hair=== <br />
Hair styling finishes off a character's appearance. Often use wigs are used to achieve the character's hair, but sometimes the actor’s actual hair is styled too. The hair style must match the style and length of the time period to create a believable and authentic character. The hair can be dyed, curled or braided to match the time period. If the character is a flapper from the 1920’s then she would have a bobbed hairstyle and a man of the same time would have a slicked back middle part. It takes a lot of research and time to create the perfect look for the character’s hair. <br><br><br />
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==Poster & Promotion==<br />
Theater advertising is an often neglected area of study but critical to putting on a show. After all, there is no show without an audience to see it. The promotional methods were influenced by the technology of the time. During the Middle Ages, the most effective advertising was word of mouth. The performers and town criers would announce performances to the town. Additionally, the sound of drums and trumpets were used to indicate a performance. Descriptions of the show were also written out, given to people and attached to posts in the town. This led to the name poster. At the time of early theater in London, printers started to be given licenses to print playbills or posters for shows. These were handed out to people. In addition, there would be a drum procession through town and a flag raised at the theater to indicate a show. Just before a performance, a trumpet would sound three times. As printing technologies improved over time, so did the posters. Actors also started to expect their names to appear on these posters. Circuses led a new development for these posters. They introduced using illustrations as it was a natural way to promote with all the animals present. Introducing images to posters created new appeal and draw for those who were illiterate. The next advancement was the introduction of color to the illustrations. The posters became an art form. They started creating larger advertisements created by printing the design across many pages and posting them all up together in the proper configuration, like a puzzle. Posters grew so important that stock posters were developed for popular shows. The quality of the posters improved as the technology did but experienced little improvement during the World Wars. The Pop Art movement brought life back to the posters. Advertisers started bringing in television stars to create more draw. Posters would feature iconic images that could also be used for marketing. While posters are not as important as they once were, they are still a key part of advertising for performances. <ref>Theatre posters. Retrieved from http://www.vam.ac.uk/content/articles/t/theatre-posters/</ref> Walking around London, posters for the current shows are hung everywhere. They line the underground stations. The West End also serves as its own advertising. Walking through the area, the buildings are plastered with billboards and posters displaying what is showing. There is also a free guide that is distributed called the Official London Theatre Guide which began in 1922. It contains information on all of the upcoming shows as well as theater and tourist information. E-marketing is also important. Online advertisements can create a draw. Subscribers may receive notification emails about shows and offers as well as an e-newsletter. After all this time though, word of mouth still remains powerful. The hype created for shows such as "Wicked", "The Lion King", and especially "Hamilton" right now, draw in audiences and create high demand for shows.<br />
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=Section 2: Our interpretation of The Play that Goes Wrong =<br />
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''The Play that Goes Wrong'' is a hilarious play that follows a production group attempting to put on a play called ''Murder at Haversham Manor'', a 1920's murder mystery. However, Cornley Polytechnic Drama, the group putting on the murder mystery, has had a difficult time with prior shows, so the expectations are set pretty low for the play they are producing now. Due to the fact that this a play inside of a play the stage tech are seen scrambling to fix things and become part of the actors. The stage tech also interacts with the audience the whole time giving the feeling that you are watching the ''Murder at Haversham Manor'' and all of the mess ups that an unprofessional and accident prone theater may face. For our deliverable, we explored the scenic, lighting, sound, costume, makeup, and promotional aspects that went into the performance we saw on "The Play That Goes Wrong" and created our own interpretations of how to put on the show in regards to each department. These interpretations are largely based on what we saw at the performance, what worked and what we felt could be improved as well as the research we did in our background.<br />
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==Scenic==<br />
[[File:Stage Right- sm- JR.JPG|thumb|right|x500px]]<br />
Designing the set for "The Play That Goes Wrong" is a unique process because it is a play within a play. As the designer for "A Play That Goes Wrong" the overall set design must be considered. However, the show is a performance of an amateur theater company attempting to perform a show. Therefore, to establish the set on the visual level, the designer must act as the designer for that company. The set must be designed to look like it was designed for the murder mystery show. Furthermore, it must reflect the styles and resources of the amateur theater group. Therefore, the set would appear to be low budget and not a refined, high quality. For this part of the design, I am basing the set on the board game Clue as it is a classic example of a murder mystery that many people can recognize. Once the basic visual design of the set is established based on the murder mystery play, design considerations for "The Play That Goes Wrong" must be looked at. This includes all of the special effects that are used to make it look like the murder mystery play is going terribly wrong. The most important tool we will be using is electromagnets. Throughout the show, the set literally falls apart. Wall hangings fall down, the second story floor collapses and the walls themselves fall down. We plan to achieve these effects through the use of electromagnets that can be turned on and off. When, for example, a wall decoration should be hanging, the magnet will be turned on. When it is time for the decoration to fall, the magnet can simply be turned off. This enables simple, on-demand control of the set failures. From a booth, the magnets can be switched on and off and perhaps even integrated into the cue system. When the second story floor collapses, the fall is controlled by mechanics behind the set. The platform is supported by cantilevered beams. Backstage, these beams are held up in a system that lets them pivot and lock into place in several positions. The beams begin the show horizontal. When the floor first fails, the position can be released, and drop in a controlled manner through the use of a motor, into the next position it can lock into. This can be repeated as the platform continues to fall. In addition, the show makes use of a bit of pyrotechnics when the garbage bin catches fire. This would be the responsibility of specialists as fire is a safety hazard.<br><br />
Actually designing the set in Solidworks proved to be a good lesson in the difficulties of set design. In the model, it becomes very apparent how tricky it is to make sure every seat has a good view of the set. The proscenium arch itself quickly blocks out the view of the audience as they start to move off to either side. This requires the set to be further forward on the stage to improve visibility. Secondly, designing the side walls of the room quickly turned into an issue. In order to improve visibility, I turned the left wall out towards the audience. Instead of a 90 degree with the back wall, it is at an 118-degree angle. However, I realized the same could not be done with the other wall. This is because the floor of the second level has to be able to swing down but, if it is made with an angle greater than 90 degrees, it will not have clearance on the side. In addition, the same problem of visibility would occur that I sought to eliminate on the other side. That is also ignoring the fact that having one side turned out but not the other would create a very oddly shaped room. It is at this point that I revisited the original set. My set had already been based on it a bit, as the story line and set were closely related meaning that the set couldn't be changed too much and still have the lines and action work. The set pieces had to be able to fail certain ways in order to fit with the story. When I looked at the set again I realized how the designer played with perspective. The back wall was actually split into sections that enabled them to bend it so each side wall could be angled out without the back wall seeming warped. Therefore, set design is not nearly as simple as creating an image in your head of the scene and putting it on the stage. In the rendering of my simplified set, some of my ideas for modification to the original set can be seen. First of all, while the rendering does not contain all the details, the concept is still for the set to be less elegant than the original set. This fits with the theme that the theater company within the show is low budget and amateur. Secondly, the furniture and color scheme were inspired by the board game Clue. In particular, the couch was designed after couches seen on the board game in the lounge and study. The wall color was also based on the game and the light color is meant to keep the area appearing open and large as light colors make spaces seem larger.<br />
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==Props==<br />
The props are very important to the show due to the fact that they add to the humor of the play within the play. The play itself is called ''The Play That Goes Wrong'' and that's what is shown to the audience. The missteps and malfunctions of the Cornley Polytechnic Drama group that go horribly wayward are captured. Below are some of the important props that make the show a comedic success. <br />
{{Infobox<br />
|title = collie<br />
|bodystyle = width:25em<br />
|image = [[File:dog-2286773_1280.png|x450px|alt=Milestone Image]]<br />
|label1= Painting prop<br />
|data1= royalty free image <br />
}}<br />
=== Picture of the Collie ===<br />
It may seem like an odd prop, but this picture is very important to some of the humor of the play. During the show, characters are interviewed by Inspector Carter to determine who killed Charles Haversham. When Cecil Haversham, the brother of the late Charles Haversham, is interviewed by Inspector Carter, the inspector looks at the picture above the broken mantel and asks if the picture of the dog is a portrait of the father. It is obvious that the wrong picture was put up during the set decoration and it shows how the production company producing the show is not at all organized. The conversation progresses and the detective asks if the recently departed Charles was the spitting image of his father, again depicted by the picture of the dog. I choose a picture of a silly looking dog to add to the funniness of the situation and allow the audience to try to picture the actor as a dopey looking dog. If I could get a picture made, I would have the dog holding a whiskey glass and playing cards. The prop has a magnet on it which keeps it attached to the wall and when the door gets shut at the end of the act all of the stuff hanging on the walls falls off by the disengagement of the magnets. This adds to the dysfunction of the show and makes everyone laugh. <br />
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{{Infobox<br />
|title = "white spirit"<br />
|bodystyle = width:12em<br />
|image = [[File:glass-565914_640.jpg|x450px|alt=Milestone Image]]<br />
|label1= Drinkable prop<br />
|data1= royalty free image<br />
}}<br />
=== White Spirit and Whiskey bottles ===<br />
Fake alcohol is often used in theater to liven the mood and add to the plot. As said earlier, props can be something that is edible or drinkable on stage, so the “liquor” does count under the umbrella term of props. During the show, after Charles Haversham’s death, the characters decide to grab some of Charles’s whiskey to calm down. The lines say that the first bottle grabbed is empty but the actor grabs the full bottle so he pours it out. Then when the character grabs the bottle that is supposed to be full it is the empty bottle previously looked for. It is obvious that when the two bottles were placed they were switched or the actor got the bottles from the wrong places. Either way, the scene shows the cast and the production company’s incompetence. The murder mystery inside of the show is just so bad it’s funny. The next problem is that there is no liquor for the cast to drink during the following scene. Instead, the stage manager hands out a few glasses with a bottle of unknown “white spirit” that looks like some cleaning detergent. When the actors are forced to take a drink they all spit it out because of it, of course, tastes terrible. For these props, I will have two generic whiskey bottles, one full of a brownish liquid and one empty. For the “white spirit” handed to the actors as an alternative, I will have a glass bottle with a do not drink sign on it to make sure that the audience understands the mistake and why the actors are spitting the liquid out. <br><br />
{{Infobox<br />
|title = vintage couch<br />
|bodystyle = width:12em<br />
|image = [[File:couch-1952918_640.png|x450px|alt=Milestone Image]]<br />
|label1= Furniture props<br />
|data1= royalty free image<br />
}}<br />
=== Couch ===<br />
The couch is another classic piece of furniture used on the stage. The show takes place during an engagement party on a cold December night during the 1920’s. Therefore, the couch is in the style of that time period. The couch is at the center of the stage and it the center of the drama due to the fact that is where Charles Haversham’s body is found. There is nothing really special about the couch other than having collapsing legs. For the set, I would have a couch that looks like it’s from that time period and has it placed in the center of the stage to attract attention to it. <br />
<br><br />
{{Infobox<br />
|title = stretcher<br />
|bodystyle = width:25em<br />
|image = [[File:vintage-1636373_640.jpg|x450px|alt=Milestone Image]]<br />
|label1= Illusion Prop<br />
|data1= royalty free image<br />
}}<br />
=== Stretcher ===<br />
A stretcher is another weird prop to find on stage, but props are meant to have attention drawn to them. During the show, the stretcher is used to lift away the dead body, but this stretcher is from the 1920’s. It is basically two long horizontal poles with canvas that is sewn with holes to put the poles through. The funny part of the show is that, when the actors are trying to pick up the body, the two poles rip from the canvas leaving the body and the rest of the canvas under the body. The “dead” body Charles then grabs the poles with his arms and legs to be carried off the stage. It is really funny due to that fact that no matter what the actors do, nothing goes right. To create the stretcher, I would take two seven foot wooden poles and sew the canvas to fit around the poles with enough room to cradle a body inside. I would then have the base Velcroed so that it would imitate ripping when the body is lifted. <br />
<br> <br><br />
<br />
==Lighting==<br />
<br><br />
[[File:Lighting_The_Play_that_Goes_Wrong.jpg|500px|alt=Image ]]<br />
<br />
<br><br />
The lighting design for ''The Play that Goes Wrong '' is used to add to the comic timing and the absurdity of the play. As previously stated, the show is performed by an amateur theater company who has had several attempts at performing shows such as "Cats" and "James and the Peach" with each show resulting in failure. They are determined to make this show called, ''Murder at Haversham Manor'' a success. The wash for this play remains constant throughout the entire play and there are some attempts to make the lightning fancier with spotlights and flashes of red for dramatic effect. The stage is a stage on a stage, which sounds confusing. The diagram above displays what the stage looks like with the lights and their position on the batons and side mounting infrastructure. The scene of the play does not change and takes place in a living room and study on a cold winter's night as well as behind the set.<br />
<br />
<br><br />
Starting with the lights that are between the fake backstage and backstage, our plan is to use PAR 64 strip lights with ROSCO 81 Urban Blue with Diffuser. The Urban Blue color is a great color to imitate a very cold, brittle scene. There is a diffuser to dampen the coolness and imitate an amateur lighting designer's attempt at making the set cool. These lights will be shining straight downward creating the cool winter scene. For the wash, backwash and side wash, we will use the Source 4 PARNel WFL, the Source 4 PAR MFL and Chauvet LED PAR 64 fixtures. The WFL is to light the wide stage, but because they are to have a wide dispersion of light, the color will be lacking in color intensity. The MFL is also to light the stage; it will have a greater color intensity, but will only have a throw distance of the front of the stage. There will be ROSCO 02 Bastard Amber and ROSCO 4830 CC 30 Pink gels in the fixtures since these colors are excellent on every skin tone and create a happy, warm tone. We have several fixtures meant for spotlighting actors; the Q500NSP (PAR 56 NSP) and ETC 405 (5-degree Source Four). The ETC fixture is meant to spot someone centered on the stage and the QS500NSP is meant to spot someone who is on the left and right middle of the stage. These lights do not have gels because white light is sufficient to spotlight any character. The last two fixtures are the MAC TW1. These are dynamic fixtures meaning that they have a certain degree of rotation in the x and y-axis. They are able to track moving people and can display a CMY spectrum of colors. These will be used for the few scenes of attempted fancy lighting. The angles of the lights that are listed in the table below are only approximate; there is a high chance, that when the master electrician is hanging and focusing the lights, the angles will change.<br />
<br />
<br><br />
There are only a few scenes with "fancy lighting", so the rest is leaving the wash up on the set. These scenes include the opening of the play and during a scene in the beginning where the dead body is found. However, an actor doesn't make his cue and the effect is repeated two or three times as the entire cast repeats that there has been a murder. In the opening of the play, there is a spotlight where the "director" of the play is supposed to stand in to present his play, but he is only half in the light because he did not step forward enough to be in the light. We plan to use the ETC 405 fixture to shine a spot on the stage and have it focused so that we miss the actor. Our plan for the actor who is supposed to be dead on a couch is to use one of the MAC TW1 to shine a spot on him while he is still getting into his place. Lastly, when the cast says "murder", we plan to use both of the MAC TW1s to flash red on the group of actors on the center of the stage. <br />
<br />
<br><br />
===Lighting Details===<br />
{| class="wikitable" width="80%"<br />
! Name<br />
! Angle<br />
! Colour<br />
|-<br />
! scope="row"| Chauvet LED PAR 64<br />
| align="center"| 135<br />
| align="center"|ROSCO 02 Bastard Amber<br />
|-<br />
! scope="row"| Chauvet LED PAR 64<br />
| align="center"| 225<br />
| align="center"| ROSCO 02 Bastard Amber<br />
|-<br />
! scope="row"| Q500NSP (PAR 56 NSP)<br />
| align="center" |135<br />
| align="center" |No Need<br />
|-<br />
! scope="row"| Q500NSP (PAR 56 NSP)<br />
| align="center" |135<br />
| align="center" |No Need<br />
|-<br />
! scope="row"| ETC 405 (5 degree Source Four)<br />
| align="center" |0<br />
| align="center" |None<br />
|-<br />
! scope="row"| Par 64 Strip (WFL)<br />
| align="center" |0<br />
| align="center" |ROSCO 81 Urban Blue with Diffuser<br />
|-<br />
! scope="row"| Par 64 Strip (WFL)<br />
| align="center" |0<br />
| align="center" |ROSCO 81 Urban Blue with Diffuser<br />
|-<br />
! scope="row"| Par 64 Strip (WFL)<br />
| align="center" |0<br />
| align="center" |ROSCO 81 Urban Blue with Diffuser<br />
|-<br />
! scope="row"| Par 64 Strip (WFL)<br />
| align="center" |0<br />
| align="center" |ROSCO 81 Urban Blue with Diffuser<br />
|-<br />
! scope="row"| Par 64 Strip (WFL)<br />
| align="center" |0<br />
| align="center" |ROSCO 81 Urban Blue with Diffuser<br />
|-<br />
! scope="row"| Source Four PARNel WFL <br />
| align="center" |90<br />
| align="center" |ROSCO 02 Bastard Amber<br />
|-<br />
! scope="row"| Source Four PARNel WFL <br />
| align="center" |270<br />
| align="center" |ROSCO 02 Bastard Amber<br />
|-<br />
! scope="row"| Source Four PARNel WFL <br />
| align="center" |30<br />
| align="center" |ROSCO 02 Bastard Amber<br />
|-<br />
! scope="row"| Source Four PARNel WFL <br />
| align="center" |15<br />
| align="center" |ROSCO 02 Bastard Amber<br />
|-<br />
! scope="row"| Source Four PARNel WFL <br />
| align="center" |0<br />
| align="center" |ROSCO 02 Bastard Amber<br />
|-<br />
! scope="row"| Source Four PARNel WFL <br />
| align="center" |345<br />
| align="center" |ROSCO 02 Bastard Amber<br />
|-<br />
! scope="row"| Source Four PARNel WFL <br />
| align="center" |335<br />
| align="center" |ROSCO 02 Bastard Amber<br />
|-<br />
! scope="row"| Source Four PARNel MFL<br />
| align="center" |15<br />
| align="center" |ROSCO 4830 CC 30 Pink<br />
|-<br />
! scope="row"| Source Four PARNel MFL<br />
| align="center" |0<br />
| align="center" |ROSCO 4830 CC 30 Pink<br />
|-<br />
! scope="row"| Source Four PARNel MFL<br />
| align="center" |0<br />
| align="center" |ROSCO 4830 CC 30 Pink<br />
|-<br />
! scope="row"| Source Four PARNel MFL<br />
| align="center" |350<br />
| align="center" |ROSCO 4830 CC 30 Pink<br />
|-<br />
! scope="row"| Martin Mac TW1<br />
| align="center" |20<br />
| align="center" |No Need<br />
|-<br />
! scope="row"| Martin Mac TW1<br />
| align="center" |340<br />
| align="center" |No Need<br />
|-<br />
|} <br />
<ref>"Source Four ® 5 ̊ Ellipsoidal Series". Texas Scenic. N.p., 2017. Web. 14 June 2017.</ref><br />
<br><br><br />
<br />
==Sound==<br />
<br><br />
[[File:Sound_The_Play_that_Goes_Wrong.jpg|500px|alt=Image ]]<br />
<br />
The sound design for ''The Play that Goes Wrong'' is not very complex and was purposefully done this way. The cast is made up of only 8 members who have only spoken parts. There is one cast member, who acts as the sound board operator and director, who seems to wear a Clear-Com looking headset that does end up projecting through the speakers. Characters will each have a microphone pack that will be projected out through 4 speakers that are hung on vertical struts. These speakers will have 90 degree dispersion, with 45 degrees of dispersion on each side of the axis. Two of the speakers will be located at the front orchestra section mounted at 45 degree angles from where they are mounted. This will project the sound to the first level of the theater. The other two smaller speakers will be mounted on the wall at the front of the second level and will be lined up against the wall. The diagram above shows the design. <br />
<br><br />
In the show there are multiple sound effects that go off throughout the show. In the table below, the act, scene, name and file is presented. These are the sounds we would pick if we were to produce the show. We are using YouTube videos that were converted into MP3 files. The references section has the links to the videos.<br />
<br><br />
{| class="wikitable" width="80%"<br />
! Act <br />
! Name<br />
! Listen<br />
|-<br />
! scope="row"| 1<br />
| align="center"| Creaking Door<br />
| align="center"| <mp3player>File:WoodDoor.mp3</mp3player><br />
<ref>Wood Door Creak Open Sound Effect. (2014). https://www.youtube.com/embed/U3Hqd6fw-i8. </ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Door Slam<br />
| align="center"|<mp3player>File:DoorSlam.mp3</mp3player><br />
<ref>Door Slam Sound Effect (Download Link). (2012). https://www.youtube.com/watch?v=fNNhE0Cz2QY.</ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Dramatic Music<br />
| align="center"|<mp3player>File:Suspense.mp3</mp3player><br />
<ref>Suspense Sound Effects. (2016). https://www.youtube.com/watch?v=ziobtd9JTtk.</ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Flame Lighting<br />
| align="center"| <mp3player>File:Fire.mp3</mp3player><br />
<ref>Fire sound effect (3). (2011). https://www.youtube.com/watch?v=Zmw32wCGWuc.</ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Body Hitting the Ground<br />
| align="center"| <mp3player>File:Bodyeffect.mp3</mp3player><br />
<ref>Body Fall SOUND EFFECT - Körper fällt zu Boden SOUNDS. (2015). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Telephone Ringing<br />
| align="center"| <mp3player>File:Old_phone_-_sound_effect.mp3</mp3player><br />
<ref>old phone - sound effect. (2012). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Drawing Sword<br />
| align="center"| <mp3player>File:Draw_sword_sound_effect_(2).mp3</mp3player><br />
<ref>Draw sword sound effect (2). (2012). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Sword Clashing<br />
| align="center"| <mp3player>File:Sword_clash_sound_effect_(1).mp3</mp3player><br />
<ref>Sword clash sound effect (1). (2012). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Gun Shot<br />
| align="center"| <mp3player>File:MLG_Gun_Shot_Sound_Effect.mp3</mp3player><br />
<ref>MLG Gun Shot Sound Effect. (2016). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Crash<br />
| align="center"| <mp3player>File:LOUD_CRASH_SOUND_EFFECT.mp3</mp3player><br />
<ref>LOUD CRASH SOUND EFFECT. (2015). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Dramatic Music Repeat<br />
| align="center"| <br />
|-<br />
! scope="row"| 1<br />
| align="center"| Dramatic Music Repeat<br />
| align="center"| <br />
|-<br />
! scope="row"| 1<br />
| align="center"| ''Girls on Film'' by Duran Duran<br />
| align="center"| <mp3player>File:Duran_Duran_-_Girls_On_Film.mp3</mp3player><br />
<ref>Duran Duran - Girls On Film. (2010). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 2<br />
| align="center"| Dramatic House Music<br />
| align="center"| <mp3player>File:Open.mp3</mp3player><br />
<ref>🎹 Trevor DeMaere - Opening Stargate (DramaticEpic Orchestral Music). (2012). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 2<br />
| align="center"| Paper Scattering<br />
| align="center"| <mp3player>File:Papers_Falling_SOUND_Effect.mp3</mp3player><br />
<ref>Papers Falling SOUND Effect. (2016). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 2<br />
| align="center"| Clock Chiming<br />
| align="center"| <mp3player>File:Clock_chimes_12_Sound_Effect_(SUPERB).mp3</mp3player><br />
<ref>clock chimes 12 Sound Effect (SUPERB). (2012). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 2<br />
| align="center"| Knocking on Wooden Door<br />
| align="center"| <mp3player>File:Loud_Knocking_on_Door_Sound_Effect.mp3</mp3player><br />
<ref>Loud Knocking on Door Sound Effect. (2014). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 2<br />
| align="center"| Telephone Ring Repeat<br />
| align="center"| <br />
|-<br />
! scope="row"| 2<br />
| align="center"| Doorbell Rings<br />
| align="center"| <mp3player>File:Door_Bell_Sound_Effect.mp3</mp3player><br />
<ref>Door Bell Sound Effect. (2015). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 2<br />
| align="center"| Vase Shattering<br />
| align="center"|<mp3player>File:Glass_Vase_Shattering_Sound_Effect.mp3</mp3player><br />
<ref>Glass Vase Shattering Sound Effect. (2014). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 2<br />
| align="center"| ''Rio'' by Duran Duran <br />
| align="center"| <mp3player>File:Duran_Duran_-_Rio.mp3</mp3player><br />
<ref>Duran Duran - Rio. (2009). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 2<br />
| align="center"| House Music<br />
| align="center"| <mp3player>File:Duran_Duran_-_The_Reflex.mp3</mp3player><br />
<ref>Duran Duran - The Reflex. (2009). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
|} <br />
<br />
<br><br><br />
<br />
==Costumes and Hair and Makeup ==<br />
Costumes, hair and makeup are being based on 4 main characters in ''The Play That Goes Wrong''. The characters have hair, makeup, and costumes based on their attributes and the situations that they are in. <br />
<br><br />
<br />
{{Infobox<br />
|title = Annie <br />
|bodystyle = width:12em<br />
|image = [[File:unat.png|x360px|alt=Milestone Image]]<br />
|label1= Thanks to<br />
|data1= [[User:Nbloniarz|Natalie Bloniarz]]<br />
}}<br />
=== Annie === <br />
Annie is the company's stage manager who makes sure that the actors go on stage at the right time and that the whole backstage is taken care of. She can often be found around the stage trying to keep the show from falling apart. During the beginning of the show she can be seen fixing the broken set and she seems to be pretty well versed in the nuances of the stage and how to fix the stage. Her first costume would be her wearing a nondescript worn t-shirt and a pair of also worn jeans or overalls with a tool belt. This will give her the jack of all trades look. She would have little to no makeup on so as not draw any attention to her. Her hair would pulled up into either a ponytail or pigtails. Her second look (seen in the picture to the right) would be for when she has to take over the role of Florence Colleymoore due to an accidental head injury to the actress. They throw her on stage in the ill-fitting red flapper dress of Ms. Colleymoore, a slightly askew flapper wig right over top of her own hair with the ponytail or pigtails sticking out, and a hasty makeup job. The makeup is absolutely terrible and totally rushed. To achieve this look I first applied a base skin tone foundation and then added some contour on the cheeks to give them more definition. I put a darker concealer under the eye to give the impression of dark circles, which is the opposite of what is typically desired. The eyebrows were filled unevenly and eccentrically to show the haste in the makeup. The lips are smudged and overdone along with blush that covers too much of the cheek. Overall the look should scream overdone, rushed, and terrible, as seen in this picture.<br />
<br><br />
<br />
{{Infobox<br />
|title = Trevor <br />
|bodystyle = width:12em<br />
|image = [[File:mben.png|x360px|alt=Milestone Image]]<br />
|label1= Thanks to<br />
|data1= [[User: Bjsecino|Benjamin Secino]]<br />
}}<br />
=== Trevor ===<br />
<br />
Trevor is the company's lighting and sound operator who makes sure the lighting and sound cues go on during the right part of the script. He is a bit absent minded during the show and can be seen running around fixing things or missing his cues. During the show, he accidentally calls over his com to the audience his notes, which are noting the error on stage to the stage manager, so that the audience notices it even more. One can see him missing sound and lighting cues while he is looking at his phone. Trevor also loses his Duran Duran CD, which he plays as a sound cue by accident and the CD is found in the final scene instead of an important ticket. His demeanor shouts “I don’t care” and tiredness. For his costume, I would have him wear all black, which is the usual technical crew member's outfit. I would leave the actor's natural hair since it adds nothing to the show. His makeup would emphasize under eye bags and would be as natural as possible while highlighting all of the person’s facial flaws. I would have him either grow some stubble or draw it own. To achieve this look I would start with a base foundation of his skin color, stipple highlight, and contour in order to shape his face a little. To create the illusion of wrinkles I would take two different colors, dark and light, and have him wrinkle his forehead. In the crevasses, I would put the darker color and on the top put the lighter color. I would then use a makeup sponge to blend the colors to make the look more natural. To create the stubble on a clean shaven face I would start with a darker foundation around his jawline and then speckle black dots in that area. Then I would blend until I got the desired look. Trevor’s final look would be one of not caring and gross exhaustion. <br><br />
<br />
{{Infobox<br />
|title = Inspector Carter <br />
|bodystyle = width:12em<br />
|image = [[File:oben.png|x360px|alt=Milestone Image]]<br />
|label1= Thanks to<br />
|data1= [[User: Bjsecino|Benjamin Secino]]<br />
}}<br />
=== Inspector Carter (Chris) ===<br />
<br />
Chris is the actor who plays Inspector Carter during the show. Inspector Carter is an esteemed detective called to investigate the death of the healthy, wealthy, and soon to be married Charles Haversham. This show takes place during the 1920’s, so I decided that he should have the look of a 1920’s gentleman. For his costume, I will be taking inspiration from Sherlock Holmes and the quintessential gentleman of the 1920’s. So I would have him wear a pair of trousers, black leather shoes, white shirt, tie, and a long trench coat. This will give him the look of authority during a play that is quite literally falling apart at the seams. Inspector Carter’s hair, if possible, would be slicked back and combed with a part to one side. For the makeup, I would start out with a skin tone foundation and then highlight and contour his face to give him higher cheek bones to make him more proper looking. This would be smudged and blended with a makeup sponge. I would put some dark concealer inside his smile lines to make him look older and wiser. He would also have a small mustache, which could be modeled from Gomez Addams’ mustache. It would be drawn on by hand and then smudged with a brush. He needs to look prim and proper to add contrast to the lack of professionalism during the show. <br />
<br><br />
{{Infobox<br />
|title = Florence Colleymoore <br />
|bodystyle = width:12em<br />
|image = [[File:bnat.png|x360px|alt=Milestone Image]]<br />
|label1= Thanks to<br />
|data1= [[User:Nbloniarz|Natalie Bloniarz]]<br />
}}<br />
=== Florence Colleymoore (Sandra)===<br />
Sandra is the leading lady of the ''Murder at Haversham Manor'' and plays Florence Colleymoore , the soon to be married fiancé of the late Charles Haversham. Her style is of a 1920’s flapper girl who is very seductive and suggestive. She would have a red dress with a modest neckline and that comes down to the mid-calf. It should look kind of cheap looking and be paired with a short kitten heel and skin tone tights. Underneath the dress, she should wear spandex shorts due to the fact she gets knocked out by a door during the middle of the first act and gets carried off through a stage window in the most ungraceful way. The spandex will ensure that the audience does not see more than they paid for. Her second outfit will be when she comes on stage in the spandex and a bra trying to take back the roll from Annie the stage manager. It will be clear that they stripped Sandra of her dress and wig to give to Annie. The makeup for Sandra would start with a skin tone foundation blended with concealer under the eyes. Next, I would stipple highlight and shadow into the face’s peaks and valleys to give the face a more multidimensional look. It should be blended so it does not look splotchy. The eyebrows should be drawn on at a medium darkness, accompanied by a pale eyeshadow. Eye makeup would be finished off with mascara and black eyeliner. I would lightly brush blush onto the apples of the cheeks and finish the whole look off with red lipstick. She will also be wearing a dark haired wig that has a blunt and short flapper hairstyle. Her appearance is important to the play due to the fact that she is one of the only female actors in the ''Murder at Haversham Manor''. She needs to stand out, but also look natural next to the rest of the cast.<br />
<br><br><br />
<br />
==Poster & Promotion==<br />
[[Image:TPTGS Poster.jpg|thumb|right|x600px]]<br />
For promotion, I designed a poster that can be distributed through a variety of modes such as being hung up in the tube stations, hung around the West End, featured on online theater booking sites and social media. The design was meant to be simplistic and bold so it would catch people's attention and be easy to read quickly. I achieved this through high contrast colors and limiting the complexity of the poster. There are no small details or an abundance of colors to distract the eye from the message. The text is minimal, large, and easy to read. A small line of text can be added underneath the title to indicate the date without detracting from the title. That text would be white and in a basic font. The different elements of the poster are also based on themes of the show. To emphasize the theatrical aspects the font is similar to the one associated with Broadway, the page is framed by a theater marquee, and stage lighting casts a spotlight on the text. To emphasize the chaos of the show lights on the marquee are broken, half of the word "wrong" is falling down, one of the spotlights is broken and the other one is shining a bit too far right also casting more focus on the falling letters.<br />
<br><br><br />
<br />
=Conclusion=<br />
<br><br />
A theater production is so much more than just the actors. Without the production team, there would be no show. The acting is only just the surface of what goes into a show. When putting on a show, all aspects of the production must be closely considered. The set must allow maximum visibility to the entire audience, be a functional space and contribute to setting the tone of the show. Lighting must highlight both the set and actors and establish tone. The sound system must give every audience member clear, audible sound. Costumes and makeup should give a visual representation of the characters while maintaining functionality for the actors. Finally, the promotional team must ensure that there is an audience to see the show. "The Play That Goes Wrong" simultaneously demonstrates what to do and what not to do. The fictional theater group in the show creates an unstable, unsafe set, misplaces props and misses an actor with their spotlight among other mistakes. However, the show as a whole features many aspects done right by the real-life theater company. The sound system, while simple, is effective and special effects are carried out in a safe manner. They manage to have the second floor of the set collapse in a safe manner. The set design, through subtly creating an angle in the rear wall, allows for good visibility of the entire set. <br><br />
Future research may compare other productions of "The Play That Goes Wrong". Long-term research includes how theater practices and technology evolve from where they are today.<br />
<br><br><br />
<br />
=Attribution of Work=<br />
We all participated equally in the writing, research, and effort that was put into this large project. As a group, we went to see ''The Play that Goes Wrong'' and bought the play script to help mold the show into our own.<br />
<br><br />
==Katharine Conroy==<br />
In the background and deliverable, I wrote the sections on props, hair and makeup, and costumes. <br />
<br><br />
<br />
==Lauren Conroy==<br />
I wrote the abstract, introduction, lighting background, sound background, and lighting deliverable.<br />
<br><br />
<br />
==Justine Roy==<br />
I wrote the scenic background, promotions background, modern costuming practices, scenic deliverable, promotions deliverable, and conclusion.<br />
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<br />
=References=<br />
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<!--DO NOT COPY THE FEATURED CATEGORY CODE BELOW--><br />
[[Category:Featured Projects]]<br />
<!--ONLY LONDON HUA ADVISORS MAY USE THE FEATURED CATEGORY TAG ABOVE--></div>Kfconroyhttps://londonhuawiki.wpi.edu/index.php?title=Theater_Beyond_the_Actors&diff=19403Theater Beyond the Actors2017-06-22T15:48:44Z<p>Kfconroy: </p>
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<div>=Theater Beyond the Actors=<br />
by [[User:Lconroy|Lauren Conroy]]<br>[[User:Jaroy|Justine Roy]]<br>[[User:Kfconroy|Katharine Conroy]]<br><br />
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{{Infobox<br />
|title = Theater Beyond the Actors<br />
|bodystyle = width:25em<br />
|image = [[File:The Play That Goes Wrong- sm- JR.jpg|x450px|alt=Milestone Image]]<br />
|label1= The Play That Goes Wrong<br />
|data1= Duchess Theater <br />
}}<br />
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[[Category:Drama & Theater Projects]]<br />
[[Category: 2017]]<br />
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=Abstract=<br />
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This milestone looks at the elements that add to the success of a show, which includes scenic, props, lighting, sound, costumes, and poster & promotion. We explored what these elements were like in early theatrical performances in comparison to modern day performances. Some of our research came from attending several current plays in the West End as well as backstage tours of the [[National Theater]], [[The Globe Theater]], and the Royal Shakespeare Company. This information was implemented into our deliverable through our own technical design of the play, ''The Play That Goes Wrong'', which we attended on May 9th. <br />
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=Preface=<br />
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As a group, we had been very involved in theater at WPI. Two of our members were involved in a combination of acting, lighting, and scenic for the Showcase in D-Term. We had all taken various drama classes including, Theater Workshop and Introduction to Drama: Theatre on the Page and on the Stage and had been taught a lot about important dramas and what it takes to put on a show. We were excited to implement what we knew and what we would learn into our deliverable. <br />
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In order for any show to succeed, there must be a dedicated, creative, hardworking production team. This team has the capability of creating a show that can move the audience to laughter, tears or both. Every aspect of the production is important and the show would suffer if a portion was neglected. As a group, we discovered how much time and effort it takes to create a cohesive, successful play. Each department in the production team has to communicate with each other to assure that everything is consistent and does not clash with another department's design. Our main objective was to create a solid design for each department of the production team, specifically scenic, props, lighting, sound, costumes, and promotion. Based on our research, we were able to determine how to create our concepts using specific makeup, props, construction material and lighting fixtures. Our final designs embody all that we have learned through reading and watching "The Play that Goes Wrong" at the West End. <br />
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__TOC__<br />
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=Introduction=<br />
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Theater is one of the oldest art forms that expresses thoughts and ideas through visual entertainment and performative elements. It stretches back to the time of the Romans and ancient Greeks with traditions continuing into modern day. Performances at theaters can leave audiences crying, laughing, beguiled and awe-inspired, but it takes teams of area specialized people to make sure these productions are successful. Technical groups such as scenic, props, lighting, sound, costumes, and poster & promotion aid in the creation of setting the perfect atmosphere for actors and actresses to deliver their lines and move audiences. These groups are the unsung heroes of what makes theater so spectacular.<br />
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The goal for this milestone is to create our own technical designs for ''The Play that Goes Wrong'' utilizing the information we learned from the background and by seeing the show. Each of us put our own spin on the scenic, props, lighting, sound, costumes, and promotion of the play. For each section, we have some type of physical diagram or photograph displaying what we would have done if we were put in charge of each technical department of the show. The results and a statement of why we chose to design our set, props, lighting, sound, costumes, or promotional item the way we did are placed in the deliverable section.<br />
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=Section 1: Background=<br />
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When people go to watch a show, they may think of the amazing acting and/or singing that is taking place. They ooh and aah at the magnificent story told by these actors and actresses, but little do they think of the unsung heroes behind the scenes who work tirelessly to make the characters look and perform the way they do on stage. There is much more to a show than just the actors. Behind the actors, there is a huge line of support crew contributing to every aspect of the show beyond the performers who, without them, the show would not be able to go on. These people belong to the groups of scenic, props, lighting, sound, costumes, and promotional aid. Below is an in-depth analysis of these technical groups that make shows come alive. <br />
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==Scenic==<br />
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The set is affected by a number of factors including theater style, the plot, the setting, the tone, the budget and the designer's imagination. <br />
===History & Techniques===<br />
Going all the way back to the ancient Greeks, their set was just a backdrop. It was designed to provide context for the show and give a place for the actors to hide offstage. In their later years, the backdrop developed to have doors for the actors to enter and exit. The Romans adopted the Greek style and not much changed for the Renaissance and Commedia Del'Arte eras. (Carver, 2009, p 4-11) Between the 16th and 19th centuries, set designs continued to develop. During this time, the wing and drop style came into being. Wings refer to the extension of the backdrop downstage on either side. These were also called legs. Above the stage, a border was added to round out the set. These changes had the added benefit of hiding the inner workings of the theater. Another popular style to emerge was the use of Periaktoi. Periaktoi were three-sided columns that would be arranged side by side. The backdrop would be divided into columns and put on one side of each Periaktoi. The Periaktoi could then be turned, sometimes with the use of a pulley system, to reveal a given backdrop. Flying effects also developed. A platform that was attached to a vertical track could be raised and lowered with pulleys. In an effort to disguise the system, a two-dimensional cloud would mask the platform. Trolley systems for moving set pieces also developed. The pieces would be attached to tracks under the stage that would be pulled along their path using ropes and a crank. This is also the time that the iconic trap door came into being. The door in the floor would open and actors could enter or exit via ladders or primitive elevator systems. The 18th century brought technology advances that enabled quicker transitions and a desire for more realism. This desire for a more realistic experience led to the box set. The box set typically is comprised of three walls, a ceiling, and a scenic ground row. Previous stages were made at an incline to aid in visibility and acoustics with the back of the stage at a higher elevation than the front. This was done away with in order to make the set appear more natural. The box set also led to the convention of the fourth wall. This division between the performance and the audience was furthered by masking the stage from the audience before the show with a curtain. While flying was phased out of style because it was unrealistic, casters (the wheels seen on shopping carts) became the primary means for moving scenery. The revolving stage also grew in popularity as it enabled quick scene changes. The set would be constructed on a platform, built as part of the stage, that could spin. The platform with the scenery would then spin to reveal new sets. (Carver, 2009, 194-196) All of this technology is the basis for current scenic design. While technology has advanced greatly since those time, many of the concepts are still used today. <ref>Carver, Rita Kogler. Stagecraft Fundamentals. 1st ed. Boston: Focal, 2009. Print.</ref><br />
<gallery mode="packed" heights=300p caption="Periaktoi"><br />
Image:Beach Periaktoi- sm- JR.JPG<br />
Image:Periaktoi Transition- sm- JR.JPG<br />
Image:Forrest Periaktoi- sm- JR.JPG<br />
</gallery><br />
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===Design Considerations===<br />
As I said previously, there are many factors that go into the set design. Clearly, there are many options available to scenic designers and they must choose those that best achieve their creative image within their constraints. Depending on the venue and the show, the budget can vary greatly. Broadway and West End shows have massive budgets that allow for costly effects. These shows can showcase expensive effects such as pyrotechnics and trap doors. On the other hand, the local theater will have a much smaller budget and will have to keep the set simpler or get quite creative with the resources they have. Another important factor is the style of theater. Most people are accustomed to the proscenium theater where all of the action takes place behind the proscenium arch. With a proscenium stage, the designer only needs to worry about the audience on one side of the stage and what can be seen at different angles to the stage. However, thrust stages that have the audience on three sides, arena stages with the audience on all sides and black box theaters that can have the audience theoretically anywhere require more careful consideration. It is easy to block the view for parts of the audience due to large scenic pieces. While a couch may be a useful place to sit, this could result in blocking the view for those situated behind or to the side of it if it is not carefully considered. Spectators' view should never be compromised unless for very good reason as every person is paying to see the show and should have a good experience. In addition, limited backstage space as a result of the style of the stage could limit set changes. (Carver, 2009, p 14-19) Naturally, the tone, setting, and plot of the show all contribute to the designer's vision for the set. The set must reflect the environment the show takes place in, be a functional space for the actors to work in and contribute to the feel of the show.<ref>Carver, Rita Kogler. Stagecraft Fundamentals. 1st ed. Boston: Focal, 2009. Print.</ref><br />
<gallery mode="packed" heights=150p><br />
Image:Proscenium- sm.jpg|Proscenium Stage<ref>By User:FA2010 (Own work) [Public domain], via Wikimedia Commons</ref><br />
Image:Thrust-sm.JPG|Thrust Stage<ref>By Wharton Center (Own work) [CC BY-SA 3.0 (http://creativecommons.org/licenses/by-sa/3.0)], via Wikimedia Commons</ref><br />
Image:Arena- sm.jpg|Arena<ref>By Savino Paolella [CC BY 2.0 (http://creativecommons.org/licenses/by/2.0)], via Wikimedia Commons</ref><br />
Image:Black Box.jpg|Black Box Theater<ref>See page for author [CC BY-SA 3.0 (http://creativecommons.org/licenses/by-sa/3.0)], via Wikimedia Commons</ref><br />
</gallery><br />
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===Design===<br />
While there is no mandatory process for set design, it typically includes many sketches and models of the design. This is important so the set designer can effectively communicate their vision for the set with the director and other departments to create a cohesive image. Early stages of design might be represented through sketches then renderings. As the design develops, a scale model of the set on the stage will be created. This allows for people to get a good idea of the space there is to work with. Audience views, lighting and functionality can be tested. Once the design is finalized, technical drawings will be sent out to the fabrication shops for it to be constructed. (Carver, 2009, p 197-205) When designing the set, not only are there the previously mentioned techniques and considerations for the designer to keep in mind, there are also artistic considerations. The first thing a designer might do is research the setting of the show. For example, if the show is set in the past, then the designer will want to capture the architecture of the time. Once they develop an idea of what the set should convey and the elements that it should contain, the designer must decide how to put it all together. In part, this may come from how an actor is supposed to move through the space. If the set is a house that the character walks through then it might be necessary that the kitchen and living room are located next to each other. However, much will be left to the designer's discretion. One rule of thumb is the rule of thirds. Imagine that the scene is divided into a three by three grid. Positioning focal points along the two imaginary horizontal and vertical lines creates an image that is supposed to be more visually appealing. It is typical for a person to just focus on the center of what they see. By creating the other focal points, it draws the viewer's attention to more of the scene and makes the image more interesting. Set design calls on many more features seen in art. Line style, color, texture, line weight, shape, pattern, scale, and shades should all be taken into account. Cool colors create a sad or mellow tone whereas warm colors are happier and more energetic. Straight lines can be harsh while curved lines are typically soothing. Bright colors indicate a happy mode while dark colors can be upsetting and mysterious. (Carver, 2009, p 33-73) Therefore, set design is a process of considering a variety of elements and determining the best way to combine them to achieve the desired effect. There is no one correct design.<br />
<ref>Carver, Rita Kogler. Stagecraft Fundamentals. 1st ed. Boston: Focal, 2009. Print.</ref><br />
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===Fabrication===<br />
Designing the set is still only just the beginning. Once the technical drawings are handed over, the set still needs to be created and there are a variety of ways to achieve this. Sometimes the drawings will specify details such as materials. Often times it is the decision of those making the set. Most of the time the set is not made of what the audience would expect. Large marble and brick structures could be painted wood. Stone or metal statues could be carved from foam. In the world of theater, nothing is as it seems. This is where the artistic skill of those creating the set comes in. A common set piece is the flat. A flat is essentially a painted piece of plywood or some other composite board. When painted correctly, the flat could appear to be much more than it is. Scenic artists have developed techniques for convincingly painting the appearance of different surfaces onto flats, backdrops and other scenic pieces. Marble is created by painting several layers of paint, according to certain complimentary color schemes, and swirling the paints. Brick is also achieved by layering paint. Often times clay or other mediums can be used to add texture beyond what painting can provide. This part of the process has endless possibilities. If an artist has a vision, they are sure to find some creative method of fulfilling it. (Carver, 2009, p 205-244)<br />
<ref>Carver, Rita Kogler. Stagecraft Fundamentals. 1st ed. Boston: Focal, 2009. Print.</ref><br />
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===Current Examples===<br />
National Theater's [[National Theater#Theater Space#Olivier Theater|Olivier Theater]] is set up for advanced scenic techniques and designs. The fly is 30 meters high and automated enabling quick and smooth set transitions. It has enough power to lift a double decker bus enabling them to store large scenic elements. The most notable technology they have is the drum under the stage. The drum spins enabling a rotating stage. In addition, it is split into two halves with each half being a stage lift. In the past, these lifts have been used to reveal the cross section of a ship in a production of "Treasure Island". The recent production of "Twelfth Night" made good use of the technology available. The set featured a revolving stage. There was a wedge that could rotate and split apart into different slices that would reveal the various sets. The revolving motion was also used to indicate motion and travel. For example, as the actors drove off stage at the end of the first scene, the stage also spun giving the cars more distance to travel as well as transforming the set. In addition, there were two trap doors used to reveal a hot tub and a fountain. A revolving stage was also used in the performances of "Harry Potter and the Cursed Child" at the Palace Theater. The effect was not as dramatic as in "Twelfth Night" where the entire set rotated. Instead, the revolving stage was used to create motion. Specific scenic elements were able to wobble back and forth or spin. For example, Hogwarts' moving stairs were able to spin to mimic their movement. Sometimes the stage would rotate to counter the movement of a character enabling them to walk further than they actually had. Other times characters would be moved without them walking. The set itself was simplistic in comparison to the spinning set seen at the National Theater. There was a backdrop and flats along each of the wings. These flats were on some sort of carriage system that enabled them to be slid side to side. This came in handy when the stage had to be transformed into the Forbidden Forrest. The flats were able to be slid into the stage space to create the trees. The set of "Don Juan in Soho" at the Wyndham's Theater was also notable. While much of it was created through the use of furniture and projections, the set underwent a radical change at the end of the show. The entire stage space was transformed when the sides of the stage swung outward. This created a wider image. The ceiling then tilted down towards the back of the stage which heightened the effect of the widening of the stage while focusing attention towards the back of the stage where actors were. The [[Royal Opera House]] also has a unique system for managing their set. They have a wagon system designed by Rolls Royce. When sets are delivered to the theater, they are stored in a conveyor system. When they are needed, the stage and set are placed on wagons that can slide into a spot on the permanent stage and be lowered hydraulically into place. This enables them to completely switch between the sets for two different shows in just twenty minutes. Furthermore, the Royal Opera House makes the entirety of their sets off-site in Thurrock. In contrast, National Theater makes roughly 60-80% of their sets. Their set building process takes place over just six to eight weeks. Parts will be constructed from scratch or bought and modified if it proves more economic and efficient. One trick they use when creating intricate or heavy set pieces is to use foam. For example, decorative molding that would take a long time to carve out was created by making a mold and filling it with expanding foam. The foam was then painted gold and appeared as if it was authentic. Unfortunately, despite all the work that goes into these sets, they cannot be reused due to the copyright on them. After the run of a production, they are put in storage until they are eventually recycled.<br />
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==Props==<br />
Props, simply put, are pieces of property of the theater company that enhances the set and story. It comes as no surprise that "prop" is just the shortening of property. Props range from elaborate falling chandeliers to plain coffee cups. It is an umbrella term for anything that is portable on stage and does not fall into any other category. Ironically, food and drink consumed on stage fall under the category of a prop. They are used to enhance the plot and characters or the show. Props have been used since the beginning of theater, most notably in Greek and Roman use of masks (Bieber, 1961, p.) <ref> Bieber, M. (1961). The history of the Greek and Roman theater: 2d ed., rev. and enl. Princeton, NJ: Princeton University Press. </ref> However, there is not a lot of history on props as they are often less memorable than a costume or wig, despite that many times they are the height of the tension or excitement in a show. Andrew Sofer demonstrates this best with the use of a prop gun as the medium of drama for a show’s plot. He uses the example of Henrik Ibsen’s “Hedda Gabler” to show the double meaning between killing time and how Hedda must kill herself to end time (Sofer, 2003 p. 167- 203). <ref> Sofer, A. (2003). The stage life of props. Ann Arbor, MI: Univ. of Michigan Press. </ref> He does an in-depth analysis of the symbolism of gun usage in different shows to kill not only one’s self but also all that it represented. One can see that props have a special place on a show’s stage and are necessary to communicate ideas important to the plot. <br />
<gallery mode="packed"><br />
Image:figs-1620590_640.jpg|''Edible Props'' Couleur. (2016). Fig photograph. Licensed under Creative Commons Zero on Pixabay.com<br />
<ref> Couleur. (2016, August 25). Fig [Photograph]. Retrieved from: https://pixabay.com/en/figs-red-coward-fruit-fruits-sweet-1620590/ </ref><br />
<br />
Image: burning-money-2113914_640.jpg|''Flammable Prop''Intellectual. (2017). Prop photograph. Licensed under Creative Commons Zero on Pixabay.com<br />
<ref> Intellectual. (2017, January 24). Prop [Photograph].Retrieved from: https://pixabay.com/en/burning-money-dollars-cash-flame-2113914/ </ref><br />
<br />
Image: glasses-543117_640.jpg|''Glasses'' Timbo84. (2014). Glasses photograph. Licensed under Creative Commons Zero on Pixabay.com<br />
<ref> Timbo84. (2014, November 23). Glasses [Photograph].Retrieved from: https://pixabay.com/en/glasses-ray-ban-black-sehhilfe-543117/ </ref><br />
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</gallery><br />
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==Lighting==<br />
===The Early History of Lighting in Theaters===<br />
The theaters of the ancient Greeks were always open and performances always took place during the day. They based the start time of the show on the position of the sun in the sky. That way, if darkness was needed, they would have the night sky. In Shakespeare’s time, theaters were moved indoors, so the candles were needed for lighting. The first type of candles used was called footlights because they were located near the actors’ feet. Traditionally, these lights were located on the downstage edge and apron of the stage. Eventually, just putting candles at the edge of the stage would no longer suffice as more control over lighting was desired. It was then discovered that putting a reflective surface behind the candle, between the audience and the actor, would intensify the light. To change the color of the lights, colored liquid would be placed between the footlight and actors. Gas became popular in the late 1700’s and the early 1800’s when it began to be pumped into buildings for lighting. This lead to the invention of the limelight. This device is created by directing a gas flame at a cylinder of calcium oxide. This invention was first used in London at the Covent Garden Theater. In the 1850’s, Joseph Swan, an English physicist, and chemist began working on a light bulb using carbonized paper filament in an evacuated glass bulb. This lightbulb had a low resistance and was not ideal for use in theater. Thomas Edison improved on Swan's design and created a high resistance lamp in a very high vacuum which could burn for hundreds of hours. The fluorescent lamp was created a little after the development of original light bulb. This is a gas-discharge lamp using electricity to excite mercury vapor. The excited mercury vapor produces a short-wave ultraviolet light that causes a phosphor to fluoresce, producing a visible light. Halogen lights are incandescent lights that use a tungsten filament sealed into a compact, transparent, quartz envelope. The envelope is filled with an inert gas and a small amount of halogen, which increases the life of the bulb. (Carver 270-279)<br />
===Conventional Fixtures===<br />
Conventional fixtures are non-moving lights usually hung off of a truss and batons. They are flown in and out to focus the lights on the stage so that performers and items can be spotlighted. <br><br />
All conventional fixtures have a lens, yoke, lamp housing, power cable, accessory holder, and a pipe clamp. At the front of each fixture is the accessory holder for gel frames and directly behind that is the lens holder. There are different types of lenses such as VSNP (very narrow spot), NSP (narrow spot), MFL (Medium Flood), and WFL (Wide Flood), which do as their names suggest. In the middle of a fixture is the yoke. This is used to angle the fixture to focus the light. At the end of the fixture are the lamp housing and the power cable. The housing allows you to change the lamp when it goes out. The cable allows you to connect the fixture to power. Some can even come with LED lamps. (Carver 280)<br />
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====Beam Projector====<br />
{{Infobox<br />
|bodystyle = width:25em<br />
|image = [[File:Beam.JPG|110px|alt=Image ]]<br />
|label2 = '''Description'''<br />
|data2 = Beam Projector Effect (WIKI Commons)<br />
}} <br />
This fixture has an open face and produces a narrow beam of light by using two reflectors. The primary reflector is located in the back of the fixture and is a flat parabolic reflector. In the front of the lamp is the secondary reflector which is spherical and reflects the light from the lamp. Towards the back is the parabolic reflector. The parabolic reflector collects the light from the lamp into intense parallel beams of light. (Carver 280)<br />
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====Scoop==== <br />
{{Infobox<br />
|bodystyle = width:25em<br />
|image = [[File:Scoop.jpg|130px|alt=Image ]]<br />
|label2 = '''Description'''<br />
|data2 = Scoop Fixture (WIKI Commons)<br />
}} <br />
These fixtures are open-faced units that have no lens. The housing for the light itself is ellipsoidal in shape and the inside of a scoop is painted white to reflect the light forward. There are few possibilities when focusing these lights because they can only pan or tilt. Some may joke that one may cook their act if they solely use these lights to light the stage. Scoops come in several sizes from 10 inches to 18 inches. (Carver 280-281)<br />
====Fresnel====<br />
{{Infobox<br />
|bodystyle = width:25em<br />
|image = [[File:Fresnel.JPG||140px|alt=Image ]]<br />
|label2 = '''Description'''<br />
|data2 = Fresnel Fixture (WIKI Commons)<br />
}} <br />
These lights are versatile because they can be used as a stage wash or to focus on a single character. Fresnel lights are soft-edged and have spherical reflectors in the back with sliders attached to the bottom to allow for easy focus. By adjusting the slider forward and backward the relationship of the reflector and the lamp to the lens is changed. Fresnels come in a wide range of sizes from 3 inches to 24 inches and are arguably one of the most used conventional fixtures. (Carver 281)<br />
====Source 4====<br />
{{Infobox<br />
|bodystyle = width:25em<br />
|image = [[File:S4.jpg|150px|alt=Image ]]<br />
|label2 = '''Description'''<br />
|data2 = Source 4 Fixture (WIKI Commons)<br />
}} <br />
The original name for this fixture is the ellipsoidal reflector spotlight or ERS. Many people also refer to it as a leko light, while some others call it a Source 4 because the is the most popular fixture from the ETC company. The Source 4 has an ellipsoid reflector and two lenses. This means the user can change the focus of the beam by changing the distance between the two lenses. Depending on the focus, the user can get a harder edge or softer edge. It is the most flexible and most used fixture in the industry. They also have rotational or stationary shutter barrels. By pushing the shutter into the fixture, the user can mask a portion of the light that comes through the fixture. The rotational shutter barrels allow users to shutter abnormal light angles. Exchangeable lens tubes that come in: 5°, 10°, 14°, 19°, 26°, 36°, 50°, 70°, and 90° can also be purchased. (Carver 281)<br />
====PAR====<br />
{{Infobox<br />
|bodystyle = width:25em<br />
|image = [[File:Para.jpg|150px|alt=Image ]]<br />
|label2 = '''Description'''<br />
|data2 = PAR Fixture (WIKI Commons)<br />
}} <br />
PAR is actually the name of the lamp that is in the fixture. It stands for parabolic aluminized reflector. The lamp and the reflector are sealed together with a lens which is then inserted into the back of a tube, or “can”, to help shape the beam of the light. Note: Some people call these fixtures PAR CAN. This fixture and the Source 4s are the two fixtures that use different lenses such as the VSNP, NSP, MFL, and WFL. Most PAR beams have an oval shape that can rotate to change the direction of each beam’s axis. Some of the newer versions allow you to separate the lamp from the lens, making them very similar to scoops. (Carver 281-282)<br />
====Strip Lights==== <br />
{{Infobox<br />
|bodystyle = width:25em<br />
|image = [[File:Strip.jpg|110px|alt=Image ]]<br />
|label2 = '''Description'''<br />
|data2 = Strip Light (WIKI Commons)<br />
}} <br />
These are large, bulky lights that usually remain in one place for multiple shows. They can have lights of multiple colors or just white lights. They are hung using C-clamps. Strip lights are used for general stage washes or to provide back lighting so the actors can see. (Carver 284)<br />
===Intelligent Fixtures===<br />
Intelligent fixtures are moving fixtures. They can also be hung off of a truss and batons or they can sit on stages and other flat surfaces. Their placement is important because they have a limited range of motion. Unlike conventional fixtures, intelligent fixtures require programming. They are addressed to the directory and is able to understand the user. They are more difficult to program than conventional lighting because they have more than one attribute per fixture that must be controlled. For concerts, these fixtures usually need a skilled live operator who knows what the performer is doing onstage and the cues for lighting changes. The most popular brand for these types of fixtures is Martin and the most popular fixtures are their MAC Auras, MAC 2000 profile/wash movie light and Seladore Desires.<br />
(Carver 285)<br />
===Controllers/Consoles===<br />
In order to raise and lower dimmable fixtures, users use control boxes called dimmers. Dimmer racks have patch bays where fixtures can be associated with a letter and a number to keep track of and control each light individually. A user may run DMX, digital multiplex, to run the lights off of a lighting console. <br><br />
Consoles take the patched lights and allow users to be able to control the lights as cues from shows. This process is tedious but adds so much depth. Imagine ''Defying Gravity'' without that beam of light that suddenly shows on Elphaba. The scene would have less impact without it. Cues are usually named after what scene and act they are in. Usually, a board operator is told when to play the cue by the stage manager via ClearComm. (Carver 288-289)<br />
===Accessories===<br />
GOBOs are different patterns that are cut out in metal and placed in a Source 4 using a GOBO holder. Shadows are cast by the GOBO to achieve the desired effect. Gels change the color of a light fixture without having to change the lamp bulb. They can be diffused with white and darkened with another color. A top hat helps reduce flare and cut out some excess light. Barn doors are placed in front of soft edge fixtures such as fresnels or PARs to block parts of light beams that spill into the border (Carver 289 291).<br />
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==Sound==<br />
===The Ancient Greeks===<br />
The Ancient Greeks are one of the first civilizations to create and build theaters for performances. Many theaters today use concepts and designs that were contrived by this group of people. The design of these theaters was quite simple, in fact, they were designed based on a circle. The diameter of a theater was often 80 feet in length, which is two times the size of most theaters today. In order for the sound of the actors to reach every one of the 12,000 people in the theater, the construction of the building had to be to specifically engineered for sound to travel up the stadium seating.<ref>Carver, Rita Kogler. Stagecraft Fundamentals Second Edition: A Guide And Reference For Theatrical Production. 2nd ed. Burlington, MA and Jordan Hill, Oxford, UK: Focal Press, 2012. Print.</ref> The first documented discussion of concerns about stadium acoustics versus view was brought about by the Roman Vitruvius in the first century BC. He presented the idea that a theater with acoustic dissonance, circumstance or resonance would be unsuitable for audiences and therefore actors. He proposed that careful attention must be made to the selection of the theater site and the type of performances that would occur there, whether they are acting or singing. It was Vitruvius who sparked the development of acoustics of Greek theaters, which spanned over two centuries.<br />
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{{Infobox<br />
|title = Sound Ray Paths<br />
|bodystyle = width:25em<br />
|image = [[File:Reflect.jpg|320px|alt=Image ]]<br />
|data2 = Figure 1 ''Auditorium Acoustics And Architectural Design'' by Michael Barron <br />
|label2= '''Description'''<br />
}} <br />
After an extensive trial-and-error process, the Greeks created a theater design that optimized the sound quality and volume for all members of the audience. Sound propagation in a Greek theater was essential to increase the volume. Every member of the audience would receive direct sound based on three reflections of sound; the reflection from the front of the horizontal orchestra, the reflection from the front chorus on the rear half of the orchestra, and the reflection for the actors on the raised stage.<br />
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Figure 1 illustrates the previously described reflection sequence. The reflection from the orchestra carries speech 40% further than without the modification. Greek theaters have the distinct feature of a steep seating rake, around 20 to 34 degrees. Although this is not confirmed, there is no doubt that the higher angles of incidence to the audience seating have a profound effect on the sound quality for the audience. Though these modifications aided in the increased volume of the actors, there had to be silence from the surrounding area of the theater and the audience for unassisted speech to be audible. This is why many theaters were located in urban locations.<ref>Barron, Michael. Auditorium Acoustics And Architectural Design. 1st ed. London: Spon Press/Taylor & Francis, 2010. Print.</ref><br><br />
{{Infobox<br />
|title = Mask Filter<br />
|bodystyle = width:25em<br />
|image = [[File:Polar2.JPG|320px|left|alt=Image ]]<br />
|data2 = Figure 2 ''The sound effect of ancient Greek theatrical masks '' by Fotios Kontomichos, Charalampos Papadakos, Eleftheria Georganti, John N. Mourjopoulos and Thanos Vovolis<br />
|label2= '''Description'''<br />
}} <br />
The most notable theater for its location is the isolated site of Epidaurus, which accommodated around 14,000 people and dates from around 350 BC. In the second century, this theater was considered the most perfect of all the Greek theaters. Seats at this theater reached distances of 70 meters from the front of the stage. How could sound reach the entire audience? The two factors that amplified the sound were masks and the theater design. With a distance that far, the actors used masks to act as a microphone to spread the sound of the actor's voice further. The masks, themselves, were constructed from hardened liquid stone and varied in design aspects such as whether they had open ears or an open mouth. Modern engineers have replicated these masks by creating mannequins that resembled the mask form and produced the type of sound that had come from these actors. The measurements they took produced a set of h<sub>θi</sub>(n) of discrete time impulse responses measured for different angle intervals with the mask on the mannequin. From there, the group was able to determine the corresponding magnetite frequency responses. The final results indicated that mask has the properties of an angle-dependent acoustic filter and the acoustic radiation of the actor's voice was significantly enhanced for the off-axis scenarios. <br />
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Figure 2 is based on the measurements from the manikin and shows the polar patterns for the mask filter and the mask radiation for octave bands centered at 0.25,1,2,4 and 8 kHz.<br />
The acoustics of the theater of Epidaurus were flawlessly tuned for each performance. Any sound produced in the orchestra was reflected and scattered around the theater of the hard limestone surfaces and ultimately reached the audience's ears. The reflected energy reached the listeners with a very small delay of 40 milliseconds. At all positions of the theater the most significant frequencies of the male speech, with a pitch ranging from 125-140 Hz, first vocal harmonics, at 250-420 Hz, and formants, from 300 HZ to 3 KHz, were amplified while keeping the richness and color of each voice. Any sounds that were outside of those ranges were filtered out to avoid the early beginnings of feedback.<br />
In order to see the effects of theater's specific design and the use of the mask working together, engineers denoted h<sub>TIRθ<sub>jrj</sub></sub>(n) as the discrete-time impulse response of the "theater-filter" and measured it for azimuth angles θ<sub>j</sub> and distances of r<sub>j</sub>. This combined impulse response, CIR, was then denoted at h<sub>CIRθ<sub>ijrj</sub></sub>(n) The resulting formula is able to calculate the acoustic results in terms of gain.<br />
<ref>Kontomichos, Fotios et al. "The Sound Effect Of Ancient Greek Theatrical Masks". ICMC. Athens: N.p., 2014. Web. 6 June 2017.</ref><br />
[[File: Stage.JPG|x320px|left|thumb| Plane Measurement and Coordinates for Theater Source and Receiver Positions and Masks]]<br />
[[File: Mask.JPG|x320px|right|thumb| Schematic diagram ]]<br />
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===21st Century Sound Systems===<br />
{{Infobox<br />
|bodystyle = width:25em<br />
|image = [[File:Soundsystem.png|320px|alt=Image ]]<br />
|label2 = '''Description'''<br />
|data2 = Sound System Diagram (WIKI Commons)<br />
}} <br />
Since the time of the Greeks, technology has evolved and become more advanced. The invention of electricity has played a key role in increasing the volume and quality of the actor's vocals. Acoustics refers to the sound quality of a room in reference to the overall audio quality without any sound amplification devices such as microphones and speakers. When creating a theater, the ambient noise that is surrounding the building or room when there is no planned audio must be considered. The Greeks dealt with this by having their theaters located in the middle of nowhere, but in today’s times, that would be utterly useless and unfeasible. Who would want to go to a play or musical in the Sahara Desert? That is why today many theaters pad their walls and make sure the stage is covered by a sound-absorbing curtain, which also doubles as an object to hide the cast until ready. Modern actors may not have learned the proper way to project their voice so that the audience in the back can hear. Modern-day sound systems have let actors and actresses become more lenient with projecting their voices because, with the adjustment of a gain knob and the increase of a slider, their volume is magically louder. Along with the actors and actresses on stage, there are orchestra reinforcements to add to the mood of a performance. However, there is a delicate balance between the actors and actresses and the orchestra because louder does not mean better. It is important to know the difference between amplification and reinforcement or the show could go horribly wrong. Amplifying denotes that the volume of an actor, actress or instrumentalist is increasing. Reinforcement is all about moving sound to create the perfect environment which requires a subtle touch. Amplification is noticeable whereas reinforcement shouldn’t be. Today's sound engineer must also account for the sound of background noise created newer technologies such as HVAC systems<br> (Carver 364)<br />
====PA Systems or Sound Systems====<br />
For a basic sound system, there are three main areas: input, output, and processing. Inputs are quite simple. They are the microphones that are connected via wires or wirelessly to a mixing console. The mixing console takes those inputs and can make pre-amplification changes on the microphone level signals to line levels. The signal then goes through equalization. Different filters can be applied to each microphone. This is helpful for equalizing different voices such as a female voice versus a male voice. Low pass filters are used on male voices so that any noise that comes through the microphone outside of the specified frequency is negated. Similarly, a high pass filter is used for female vocals. Level control is then used to process the signal and send it to the output. The output of a console is an amplifier, most commonly a speaker. The speaker converts the signal that is received into sound waves that people can hear and hopefully enjoy. Sound equipment has many variations. Inputs can include microphones (wireless, lavier, wired, wireless mic packs), contact pickups, magnetic pickups, laser pickups and optical pickups. Signal processors can include reverberation, delays, and amplifiers. Outputs can be loudspeakers (subwoofers, woofers, midrange, and tweeters) and headphones. The most important part is choosing the right equipment for the right show and location as well as speaker placement. For example, subs and heavy bass would not typically be used for a ballet. (Carver 366-367)<br />
====Microphones====<br />
{{Infobox<br />
|bodystyle = width:25em<br />
|image = [[File:Mic.JPG|320px|alt=Image ]]<br />
|label2 = '''Description'''<br />
|data2 = Different Types of Mics (WIKI Commons)<br />
}} <br />
The most basic function of a microphone is to pick up the sound and convert that acoustic sound to electrical energy. There are two main groups of microphones, dynamics, and condensers. Dynamic microphones are versatile, reliable, durable and, most importantly, affordable. The SM57 and SM58 are able to handle anything that life throws at it. The SM58 is used widely as a microphone for vocalists and is most notably identified by its ball grille. The SM57 is more for instrumentalists and can have a windscreen for heavy wind or breathing. Both the SM58 and SM57 are very similar in design and range and can be used interchangeably. Condenser microphones are more likely to be seen in theaters because they have an extremely versatile range. These microphones are quite special because they need 48-volt phantom power. On most mixers, the sound person must switch on phantom power to the assigned microphone. There are various styles of microphones because a handheld mic may not appeal to everyone. A lav or lavalier mic is very small and can be placed on a person’s shirt or in a person’s wig/hairline. Contact pickups are similar to microphones and are attached to instruments to pick up the sound through its vibrations. Pressure-response microphones are also used for instruments. They are mounted on a flat surface with an attached plate that increases gain.<br />
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Impedance of a microphone refers to the amount of resistance a microphone has to an audio signal. The lower the impedance, the less issues a microphone may have when using a longer cable and dealing with noise interference. Typically a lower impedance means a better-quality microphone, therefore a perfect choice for theater.<br />
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Gain deals with the amplification of a microphone through a sound system. If set up properly, meaning the system, microphones, and speakers, gain can be maximized. Handheld microphones have more latitude when it comes to gain versus its wireless counterpart. However, as the technology has gotten better, lavalier microphones have gotten smaller and better, but at a very high financial cost. Lav mics can be seen almost everywhere such as in theaters and on television news shows. The loop is sized for the person’s ear and a piece of tape is placed on their cheekbone and behind their ear. The pack is the hidden in the shirt making sure the person has enough neck room to not pull the mic off. <br />
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Area micing is a technique used for large bands or choirs. An array of floor microphones is placed on the ground and the board operator increases or decreases the gain as needed. For this, it is better to use an odd number of microphones which will provide the most options of which microphones to use at any given time. (Carver 364-368)<br />
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====Mixing Consoles====<br />
{{Infobox<br />
|bodystyle = width:25em<br />
|image = [[File:Mix.jpg|320px|alt=Image ]]<br />
|label2 = '''Description'''<br />
|data2 = Digital Mixing Console (WIKI Commons)<br />
}} <br />
All consoles work on the same concept. They take inputs, process the signal via equalizing, delays and reverberation, and transfer the audio to outputs. Each console is different with a given number of inputs and outputs as well as limits to the types of adjustments one may make to the audio signal. There are two types of consoles, analog and digital. Analog boards come in a range of sizes. Examples include the Mackie 1402VLZ4 14-Channel Compact Mixer and the GL4000. The drawback of these boards is that there are no equalizers, delays, or special effects, which are available on digital boards. Digital boards are the newest in sound engineering technology and are continually being developed. Digital consoles can be more flexible. Some digital boards have mobile device applications that allow a person to control the board from the stage instead of from front of house making equalizing easier and faster. (Carver 370)<br />
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====Speakers and Headsets====<br />
There are four types of speakers: tweeters, midrange, woofers, and subwoofers. Tweeters are meant for producing sound in the high-frequency range. Midrange speakers are designed to reproduce sound at midrange frequencies. Woofers are for low frequencies and subwoofers are to produce sounds at very low frequencies. Subwoofers are usually the speakers that make the floor shake at a dance party. Line arrays are groups of speakers that are hung vertically or horizontally. They have a very narrow spread of sound per speaker. Wedges or monitors are used by most musicians and vocalists so they can hear themselves throughout the performance. Selected sounds are mixed through the soundboards and then output through each wedge. Positioning the speakers is key because some speakers only have 90-degree dispersion. <ref>Mellor, N. (2017). Speaker Off Axis: Dispersion Specifications and Off-Axis Response Plots - Acoustic Frontiers. Acoustic Frontiers. Retrieved 18 June 2017, from http://www.acousticfrontiers.com/dispersion-specifications-and-off-axis-response-plots/</ref>The best positioning for these speakers is in pairs facing the corners of the space diagonal to them. <br />
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Headsets are used for stage managers and other run crew to know what is going on. They allow communication between the groups. Different groups can be on different channels like handheld radios. Clear-com is the most popular and is easily setup using XLR to the control box. It comes in wired and wireless versions. (Carver 371-377)<br />
<ref>Carver, Rita Kogler. Stagecraft Fundamentals. 1st ed. Boston: Focal, 2009. Print.</ref><br />
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==Costumes==<br />
=== History and Method ===<br />
Costumes are very important in transforming an actor into the character they are playing. Costumes are also used to set the scene of the play. For example, Victorian Era costumes will make the show appear to be set in the Victorian Era. Costumes have been used since the ancient Greeks and Romans. Greek theater was a sacred place and often sacrifices were made on the altar in the center of the stage before the show. A show would take place once a year on a day of celebration of the god worshiped in the temple. According to the Greek culture, the god would be present the whole day of the show and the performance was considered a sacred duty which was paid for by the wealthy. In order to act in the play, the actors had to be totally pure for they were channeling their character. Actors would use a staff and wear a wreath to convey this. The actors would wear red ornamental cloaks and stone masks that belonged to the treasure or the sanctuary, these were early [[Theater in London#Props| props]] (Stricker, 1955) (Bieber, 1971)<ref> Stricker, B. (1955). The Origin of the Greek Theatre. The Journal of Egyptian Archaeology,41, 34-47. doi:10.2307/3855235</ref>. <ref>Bieber, M. (1971). The History of the Greek and Roman theater. Princeton: Princeton University Press. </ref> Not only did the actors have to be in a state of purity, only the clean and pure public could attend this performance. They too would wear decorative cloaks and wreaths to celebrate the sacred day. Costumes were very important to conveying the story due to the fact that it would reveal the gender and social status of the character. Costumes in the Roman theater overlapped quite a bit int that a cloak’s color denoted the status and sex or the character. They also wore masks. During the Elizabethan Era, clothing played a significant part to one's status in society. There were many laws dictating what a person could wear, so many plays had their actors wear clothes of the vernacular for the character. Therefore, the actors of queens and kings wore costumes that reflected that status and those of less important roles wore their own clothing. For plays that took place during the Roman and ancient Greek eras, actors wore togas over their normal clothes. Since costumes were very expensive, many companies reused old costumes (Costumes and Cosmetics, 2013, p. 1) . <ref> Costumes and Cosmetics. (2013) (1st ed.). London. Retrieved from https://www.shakespearesglobe.com/uploads/files/2014/01/costumes_cosmetics.pdf</ref><br> <br><br />
[[File: times-square-1457783_640.jpg|x250px|right|frameless|thumb| Major NY Shows]]<br />
Today costumes are designed by costume designers, who work closely with the director to make the director’s vision come to fruition. They often need to do a lot of research into who the character is and what time period he or she comes from. This research creates an authenticity to the character. A character wearing a crop top and a pair of short shorts would not be taken for women of status in the Victorian Era. The costume creates the character and that costume is iconic. Who would Glinda from "Wicked" be without her extravagant happy dresses? The costumes are more than just the clothing the actors are wearing. They include the shoes and accessories that are paired with the outfit. Costumes are meant to be used as an extension of the actor, which means that if two characters are polar opposites, their outfits will be totally different. It adds to the depth of the character. The costume designer then creates sketches of their proposed idea to share with the director. These costumes are then either approved or sent back with critiques. After the costume designs are approved, there is a lot of work to be done (Nusim, 2017) (Landis, 2014). <ref> Nusim, R. (2017). Character by Design (1st ed.). ACADEMY OF MOTION PICTURE ARTS AND SCIENCES. Retrieved from https://www.oscars.org/sites/oscars/files/costumes_and_makeup_activites_guide.pdf </ref><ref> Landis, D. (2014). COSTUME DESIGN DEFINING CHARACTER (1st ed.). The Oscars. Retrieved from https://www.oscars.org/sites/oscars/files/teachersguide-costumedesign-2015.pdf</ref><br />
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===Fabrics===<br />
[[File: towel-1838210_640.jpg|x250px|right|frameless|thumb| Different Fabrics]]<br />
Costumes come in many different shapes, sizes, and fabrics. This is one of the first things a designer has to think about when designing a costume. The material can affect the character’s movement, the actor’s comfort, the time period, and so much more. Fabric choice comes with much consideration and it is very difficult to choose with so many different fabric choices. One of the first fabrics of choice is wool. It is a fabric known for its warmth and itchiness, which is made from a variety of sheep furs. Even though many find wool to be itchy, wool comes in a variety of different types and not all of them are itchy. The fabric is very spongy and an insulator, but the reason many like wool is its ability to absorb up to 30 percent of its weight in water and not feel wet. Along with its water holding ability, wool is also dirt, tear, and flame resistant. This fabric may be worn by a character who is a sheep farmer in Ireland. Another natural and widely used fabric is cotton. It is a light, cool, and soft material that is used often. Cotton comes from the cotton plant and is stronger wet than dry. It can withstand high temperatures and is more breathable than wool. Silk is another fabric used in theater. It is a natural fiber that is spun by silkworms and is considered a fabric of wealth and success. Silk absorbs moisture in the summer and is warm in the winter, which makes it perfect to wear on stage. Due to its ability to retain moisture, silk is easily dyed and shapes well to a person’s body. Linen, not to be confused with cotton, is another widely used fabric. It is produced from the fiber of the flax stalk and is two to three times stronger than cotton. Linen has a unique luster that comes from its inherent nature and is easily dyed. Other fabrics that are synthetic and likewise also cheaper include polyester, rayon, acetate, and nylon. They have many of the same characteristics of natural fabrics, but they are less natural and prone to wrinkle, stain, and shrinkage (Caver, 2012, p. 306- 309).<ref>Carver, Rita Kogler. Stagecraft Fundamentals Second Edition: A Guide And Reference For Theatrical Production. 2nd ed. Burlington, MA and Jordan Hill, Oxford, UK: Focal Press, 2012. Print. </ref><br />
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===Tools, Accessories, and Sewing === <br />
Once the fabric of the costume is chosen, the fabric(s) has to be put together by sewing or other methods. In order for the fabric to be transformed into a costume, the seamstress must be familiar with the tools necessary to create a costume. Tools such as measuring tapes and patterns assist the costume designers to accurately take the measurements of the actor or actress. Once the measurements for the garment are determined, the designer will start working with either a pre-existing pattern or creating a pattern from scratch. A pattern is a template on which a garment can be cut from to form the specific shape desired. They are often made of paper and traced onto the fabric. To create new patterns, patterns may be combined or a sloper tool can be used. Sloper tools provide generic shapes that can be modified to form a new pattern. After a pattern is created, it is pinned to the fabric and then cut by sewing scissors. These scissors can cut fabrics fast with their adjustability and are therefore more expensive than arts and craft scissors. The next step of the process is sewing the pieces together, which can be done with different types of thread that have as great a range as fabrics do. The chosen thread needs to have similar properties to the fabric. To make the costumes unique and complete, accessories such as belts, buttons, and zippers are added. They can change a one-dimensional costume into one fit for a king or queen, but these accessories must be kept organized in order for them to be found in a timely fashion. Some other important tools are seam rippers, which can cut a seam when a stitch needs to be undone without damaging the fabric, and tailor’s chalk, which is used make marks on fabric. (Caver, 2012, p. 309- 317). Finally, after all of these steps have been completed, the fabric can be sewn together to create the costume. Most costumes are sewn by sewing machines, with intricate details sewn by hand. Some of the stitches sewn are quite easy, however many are difficult and require much skill. One commonly used stitch is the overlocking stitch. It is used to combine two edges of the fabric to create a hem on the inside that appears seamless when flipped inside out. The overlocking stitch is considered to be very versatile with it being used for everything from decoration to reinforcement to the construction of a fabric. Once the costumes are completely sewn they are then fit to the actor or actress to ensure a total fit. Interestingly, more complex costumes are initially made of muslin, a very inexpensive fabric, and are fitted to the actor so that the exact measurements can be used during the construction of the real costume. The creation of a costume is a multifaceted process that takes a design from paper to real life. It is difficult, but costumes are essential to a show for they aid the viewer in imagining and fitting the actors or actresses into the roles they play (Caver, 2012, p. 323- 334) <ref> Carver, Rita Kogler. Stagecraft Fundamentals Second Edition: A Guide And Reference For Theatrical Production. 2nd ed. Burlington, MA and Jordan Hill, Oxford, UK: Focal Press, 2012. Print.</ref>.<br />
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===Types=== <br />
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Costumes have come a long way from dresses, togas, and suits. As culture has invited new and exciting shows to the theater, costumes have had to change with the culture. Today’s theater productions have definitely proven to be a challenge for costume designers. There is now a myriad of shows of different time periods, themes, and ethnicities, which can be seen by the 2017 Tony nominees and shows that are currently popular. A prime example would be the Tony-winning "Natasha, Pierre & The Great Comet of 1812", which is an excerpt from Leo Tolstoy’s "War and Peace" about the affair of Natasha with Anatole and Pierre’s existential search for meaning <ref> S. (n.d.). The Great Comet - Official Broadway Site. Retrieved June 13, 2017, from http://greatcometbroadway.com/</ref>. Natasha is a charismatic young Russian woman of status engaged to marry her beloved fiancé Andrey, but while he is away at war she is sent to live with a godmother where she is seduced by an unknowingly married man. Natasha’s costume is white for innocence and is fitting of women of status in Russian during the early 1900’s. All of the costumes are a mixture of timepieces with modern clothing. This can add the idea that "War and Peace" is not just a very long novel with little to do with society today. Natasha’s story is a timeless tale of love, lies, and scandal, so the costumes must accent the characteristics of the characters and make them believable. Another Tony Award-winning show that has a completely different costume design is "The Lion King". "The Lion King" is a very different show about finding one's identity and is loosely based on Hamlet. This is a very difficult show to design for because the characters are animals. It is very hard to mimic the movement of an animal, so the designers worked to make costumes move with the movement of the actors and dancers. They utilized both masks and puppetry to create the movement of many of the animals. Timon and Pumbaa are life-size puppets that are connected to the actors. These shows show the great range of costumes that exist today in theater and the different styles and techniques used. <br />
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===Current Practices===<br />
Tours of the [[National Theater]], [[Royal Opera House]], and Royal Shakespeare Company gave insight into how costumes are currently dealt with. The trend is that the costumes department is divided into sub-departments. These subdepartments take care of creating the costumes, caring for the costumes during their show's run and managing them after the show has finished. During a production, the costumes must be cleaned after performances to keep them in good condition for the actors. This is especially important when a costume is dirtied during the performance. If the character gets a blood stain during the show, it cannot be there at the start of the next performance. In addition, any damage such as a tear in a costume must be repaired. After a show, the costumes are typically labeled with the name of the show they were from, the actor who wore it and the character they played. These costumes are organized and stored in the theater company's costume shop. The costumes can be rented by theater companies, film companies such as the BBC and sometimes the public for use. This enables more money to be earned back from the costs of the show. The Royal Shakespeare Company occasionally has auctions that are open to the public where the costumes are sold off for under £75.<br />
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== Hair and Makeup==<br />
===History and Design ===<br />
Makeup was not used in Greek and Roman theater due to the fact that the masks that they wore were designed to portray the emotions and character traits the characters had. (ref) It was not until the time of Queen Elizabeth that makeup was frequently used. The makeup of the actors was very important due to the fact that not only did it create the character, it also disguised their identity as a man. The actors were painted with white face makeup that sometimes consisted of a mixture of vinegar and white lead, “ceruse”, which was highly poisonous. The white was important because it represented the faces of the rich and royal due to the fact that they did not have to go outside to work. The standard for beauty was a pale white complexion, bright red cheeks and lips, kohl lined eyes, and a blond wig. This would usually be put on a young boy when he was transformed into the character of a beautiful young woman. To make characters shimmer, like characters in Shakespeare’s “A Midsummer Night’s Dream”, crushed pearls and silver would be applied to their makeup (Costumes and Cosmetics, 2013, p. 2) <ref> Costumes and Cosmetics. (2017) (1st ed.). London. Retrieved from https://www.shakespearesglobe.com/uploads/files/2014/01/costumes_cosmetics.pdf </ref>. Modern stage makeup did not really appear until the 1920’s and 1930’s and was started by Max Factor. Max Factor was the person who coined the term makeup and his son was credited with many innovations in makeup. They started the lip gloss, cake makeup, pan-stick makeup, the original cover-up makeup, and the first waterproof makeup (Carver, 2012, p. 339) <ref> Carver, Rita Kogler. Stagecraft Fundamentals Second Edition: A Guide And Reference For Theatrical Production. 2nd ed. Burlington, MA and Jordan Hill, Oxford, UK: Focal Press, 2012. Print. </ref>. Today stage makeup is created by many companies and comes in a variety of different shapes and sizes. They are used in a myriad of different techniques to achieve looks that portray different time periods, people and in some cases animals. The makeup signifies the character’s health, age, and liveliness and also adds to his or her illusion. Together the costume designer and hair and makeup designer work together to flush out and create a cohesive look for the character they are creating. With enough makeup, one can create themselves into a person they are not. An actor can be given an older, younger, sicker, healthier, prettier, plainer, or clearer look. People tend to go heavier on makeup when doing stage makeup than everyday makeup due to the fact that stage lights wash out a normal skin color making it much lighter (almost sheet white). This makes it hard for viewers at a distance to see the fine details of the makeup. To have an effective makeup design, the makeup must project the character to the audience (Gillette, 1999, p. 432-434) <ref> Gillette, J. M. (1999). Theatrical design and production: an introduction to scene design and construction, lighting, sound, costume, and makeup. New York, NY: McGraw-Hill. </ref> <br><br />
When designing makeup, one must keep in mind that they are changing the actor into the character. They have to do a great deal of research to get the character right because it is easy to spot what character is out of place. It was said by Richard Corson that the “makeup suggests genetics, environment, health, disfigurements, fashion, age and personality” (Gillette, 1999, p. 432) of the character. Therefore, it is important to accurately represent the character through their makeup. Makeup can also indicate if a person has been exposed to the elements based on the skin’s color and texture. One can also see if the character has deformities, both accidentally and genetically, which add to the personality of the character quite a bit. A rule of thumb for eccentric makeup is that if the character is eccentric then make it eccentric, if not then stick to the time period. When creating characters of different ages, younger skin tends to have better color with a firmer feel and older skin has a looser feel with less color and more wrinkles. The personality of a character is also portrayed in the makeup with a happier person having smile lines and a grumpier person having a perpetual frown. These are all good things to keep in mind when doing the makeup design and aid in achieving the look that is trying to be accomplished (Gillette, 1999, p. 432-434). <br><br><br />
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===Facial shapes===<br />
Facial shapes have great importance when doing makeup due to the fact that faces are always balanced. Therefore, the makeup must be balanced with the face as well. Faces come in in six different classes of shapes, which are pear, oval, heart, long, round, and square. Depending on one’s facial shape, makeup should be applied differently to highlight its features. Oval faces are considered to be perfectly symmetrical due to the fact that it is wide at the cheekbones and slopes down to a more pointed chin. The heart shaped face is much more different due to the fact that the top of the face is more rounded and then it has a more pointed or triangle shaped chin. It is also known as a triangle face shape. A pear-shaped face is much like a pear. It has a smaller forehead with a gradually larger face down to a wide chin. The square facial shape is the most common face shape. It has more of an oblong shape until the chin, where it’s more like a tilted right angle. A round face shape is very similar to an upside down pear shape face, but the chin is more rounded. The last face shape is the long face shape which is like an elongated oval face shape with higher cheekbones. The face shapes of the actors are necessary for a makeup designer to know when designing a character's makeup as it determines what parts of the face gets highlighted or shadowed. It‘s also important to know other faces when changing a person’s face shape to fit a character (Carver, 2012, p. 340). <ref> Carver, Rita Kogler. Stagecraft Fundamentals Second Edition: A Guide And Reference For Theatrical Production. 2nd ed. Burlington, MA and Jordan Hill, Oxford, UK: Focal Press, 2012. Print. </ref>. <br> [[File: face.JPG|x250px|center|frameless|thumb| |caption = Various Face Shapes (Carver, 2012, p.340 FIG.13.1)]] Various Face Shapes (Carver, 2012, p.340 FIG.13.1) <br><br><br />
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===Tools=== <br />
Makeup tools are very important to creating a character’s look due to the fact that they are what is used to transform the actor's face into the character's face. Makeup artists utilize brushes of different sizes, shapes, thicknesses, and styles. They all have a purpose and a designer will have many. Flat brushes are very good for blending colors together due to the fact it gives you a great amount of control when adding and removing pigment. An angle brush is really important for doing eye shadows and precise lines near or around the eye. Dome brushes are really good for blending and applying concealer under a person’s eyes whereas round brushes are good for eyeshadow and brows. There are detail brushes and powder brushes which add small details and blend well. Foundation brushes are used to apply and smooth foundation, which covers the majority of the face. The last brush to be covered is the contour brush. This brush is used to highlight and shadow the face so the person looks like they have higher cheek bones. It is also used to reconstruct the face to the right face shape. It is apparent that there are many brushes with different purposes and different artists have different uses for any given brush. They are all correct though! People have different uses for different brushes. Brushes are not the only tool that makeup artists use. Artists use spatulas to apply scar wax and thicker products, which is mixed with a plastic palette. A powder puff is usually used to apply powder or blot. Different types of sponges are used to blend and apply crème makeup. As a rule of thumb, the more porous the sponge the more texture is going to be applied to the skin. These are just some of the tools makeup artists use and there is much more to explore. (Carver, 2012, p. 341- 343) <ref> Carver, Rita Kogler. Stagecraft Fundamentals Second Edition: A Guide And Reference For Theatrical Production. 2nd ed. Burlington, MA and Jordan Hill, Oxford, UK: Focal Press, 2012. Print. </ref>. <br><br><br />
<br />
=== Types of Makeup===<br />
====Cake Makeup==== <br />
This is the most commonly used type of makeup and it comes in both dry and moist compacts of pigment. They come in a variety of colors and shades matching every skin color. Cake makeup additionally comes in a variety of highlights and shadows to contour the actor’s face. To apply this makeup, artists moisten a makeup sponge or brush and then wipe it across the cake. It is then applied to the face. However, if the sponge is not wet enough the makeup won’t apply. If the sponge is too wet, the makeup will be too opaque. An actor should have a clean face when this is being applied. Usually, the highlights and shadow are applied over the foundation, but to get a more muted effect it can be placed under the foundation. Cake makeup does not need setting powder to prevent the makeup from smudging and sweating off (Gillette, 1999, p. 436-437). <br><br />
<br />
==== Crème Makeup====<br />
Crème makeup is a non-greasy makeup that is often applied with a sponge, brush, or fingers. Unlike cake makeup, crème makeup does not require a damp tool. It can be used with cake makeup, but it does require setting powder. For easier usage, this makeup comes in sticks and crayons (Gillette, 1999, p. 437-438).<br><br />
<br />
==== Liquid Makeup ====<br />
This makeup is not usually used for the face, but for the body. The use of a name brand theater makeup is not necessary because store bought types work just as well. One drawback of this makeup is that it dries more quickly than other makeups, which makes it difficult to blend when more than one color is used (Gillette, 1999, p. 439). <br><br />
<br />
==== Dry Makeup ==== <br />
Dry makeup is classified as makeup that is dry when applied. This makeup is not usually used as a standalone makeup. It is usually used in conjunction with greasepaint and cake makeup. A common dry makeup is face powder, which is used to set a face. Though, if in a pinch, it can be used as a quick foundation. Any excess is dusted off with a fluffy brush (Gillette, 1999, p. 439). <br><br />
<br />
==== Greasepaint ====<br />
Greasepaint was the first form of makeup before good quality crème and cake makeups were created. It was originally the most commonly used face makeup. It is quite translucent and available in a multitude of colors. It is applied with the fingertips and stippled to create a multidimensional layered effect, however, each layer needs to be set with setting powder. It clogs the pores and makes the person sweat even more than normal when under the bright lights of a stage (Gillette, 1999, p. 439). <br />
<br><br />
<gallery mode="packed"><br />
Image:makeup-brush-1746322_640.jpg|''Brushes''<br />
Image:creme.JPG|'' Ben Nye crème foundations (Carver, 2012, p.340 FIG.13.9)''<br />
Image:cosmetics-259181_640.jpg|''Highlighter and Brushes''<br />
</gallery><br />
<br><br><br />
<br />
===Application technique===<br />
==== Highlights and shadowing====<br />
To create a multidimensional look, makeup artists take advantage of shadowing and highlights. They are used to make a person look older, younger, sicker, or healthier. Contrasting colors, such as brown and bright ivory, are used to draw attention to one part of the face while reducing attention on another part. One can create harsh angles by making harsh lines and smooth harsh lines by blending lighter colors (Gillette, 1999, p. 440-441). <br><br />
<br />
==== Stippling ====<br />
Stippling is the act of dabbing or patting makeup rather than stroking it on the face. It is often done using a brush or sponge and it roughens the texture of the skin. The appearance of larger pores are produced by a larger pored sponge and can also be used to create the look of acne. To create a more natural look two or more colors are stippled together. If a shadow or highlight is too heavy it can be stippled with a base to create a natural look (Gillette, 1999, p. 442). <br />
<br><br />
{{Infobox<br />
|title = Power of Makeup<br />
|bodystyle = width:20em<br />
|image = [[File:nvo.JPG|x450px|alt=Milestone Image]]<br />
|label1= Thanks to<br />
|data1= [[User:Nbloniarz|Natalie Bloniarz]]<br />
}}<br />
<br />
===Special Makeup ===<br />
Sometimes an actor does not have the same exact features of the character they are playing. When this is the case, products such as nose putty, derma wax, latex, and prosthetics are used to modify the actor's features and achieve the character's appearance. Not everyone has a crooked nose or a facial scar so makeup artists must get creative when a character does have an irregular feature. Nose putty is used to give a different shape to the actor’s nose, chin, or other inflexible facial feature. The putty is shaped onto the face of the actor and is glued onto the skin with spirit gum to create more security. It is then painted with makeup to match the skin tone and stippled to give texture. Derma wax is similar to nose putty but is does not adhere as well so spirit gum is absolutely necessary for adhesion to the face. It is more easily molded and adding cotton adds to its structure. It is painted similarly to nose putty. Latex is one of the more used special effects because it can be used to make bald caps, eyebrow masks, and wrinkles. However, the drawbacks of latex include that it is difficult to remove and, if applied to hair, the hair must be shaved off and people can be allergic to latex. Latex does create a nice smooth layer that can be built up with makeup though. When creating these parts are too much, prosthetic noses, chins, and others pre-made features can be purchased. They are sometimes needed to complete the look (Gillette, 1999, p. 443-50). <br><br><br />
<br />
===Hair=== <br />
Hair styling finishes off a character's appearance. Often use wigs are used to achieve the character's hair, but sometimes the actor’s actual hair is styled too. The hair style must match the style and length of the time period to create a believable and authentic character. The hair can be dyed, curled or braided to match the time period. If the character is a flapper from the 1920’s then she would have a bobbed hairstyle and a man of the same time would have a slicked back middle part. It takes a lot of research and time to create the perfect look for the character’s hair. <br><br><br />
<br />
==Poster & Promotion==<br />
Theater advertising is an often neglected area of study but critical to putting on a show. After all, there is no show without an audience to see it. The promotional methods were influenced by the technology of the time. During the Middle Ages, the most effective advertising was word of mouth. The performers and town criers would announce performances to the town. Additionally, the sound of drums and trumpets were used to indicate a performance. Descriptions of the show were also written out, given to people and attached to posts in the town. This led to the name poster. At the time of early theater in London, printers started to be given licenses to print playbills or posters for shows. These were handed out to people. In addition, there would be a drum procession through town and a flag raised at the theater to indicate a show. Just before a performance, a trumpet would sound three times. As printing technologies improved over time, so did the posters. Actors also started to expect their names to appear on these posters. Circuses led a new development for these posters. They introduced using illustrations as it was a natural way to promote with all the animals present. Introducing images to posters created new appeal and draw for those who were illiterate. The next advancement was the introduction of color to the illustrations. The posters became an art form. They started creating larger advertisements created by printing the design across many pages and posting them all up together in the proper configuration, like a puzzle. Posters grew so important that stock posters were developed for popular shows. The quality of the posters improved as the technology did but experienced little improvement during the World Wars. The Pop Art movement brought life back to the posters. Advertisers started bringing in television stars to create more draw. Posters would feature iconic images that could also be used for marketing. While posters are not as important as they once were, they are still a key part of advertising for performances. <ref>Theatre posters. Retrieved from http://www.vam.ac.uk/content/articles/t/theatre-posters/</ref> Walking around London, posters for the current shows are hung everywhere. They line the underground stations. The West End also serves as its own advertising. Walking through the area, the buildings are plastered with billboards and posters displaying what is showing. There is also a free guide that is distributed called the Official London Theatre Guide which began in 1922. It contains information on all of the upcoming shows as well as theater and tourist information. E-marketing is also important. Online advertisements can create a draw. Subscribers may receive notification emails about shows and offers as well as an e-newsletter. After all this time though, word of mouth still remains powerful. The hype created for shows such as "Wicked", "The Lion King", and especially "Hamilton" right now, draw in audiences and create high demand for shows.<br />
<br><br><br />
<br />
=Section 2: Our interpretation of The Play that Goes Wrong =<br />
<br><br />
''The Play that Goes Wrong'' is a hilarious play that follows a production group attempting to put on a play called ''Murder at Haversham Manor'', a 1920's murder mystery. However, Cornley Polytechnic Drama, the group putting on the murder mystery, has had a difficult time with prior shows, so the expectations are set pretty low for the play they are producing now. Due to the fact that this a play inside of a play the stage tech are seen scrambling to fix things and become part of the actors. The stage tech also interacts with the audience the whole time giving the feeling that you are watching the ''Murder at Haversham Manor'' and all of the mess ups that an unprofessional and accident prone theater may face. For our deliverable, we explored the scenic, lighting, sound, costume, makeup, and promotional aspects that went into the performance we saw on "The Play That Goes Wrong" and created our own interpretations of how to put on the show in regards to each department. These interpretations are largely based on what we saw at the performance, what worked and what we felt could be improved as well as the research we did in our background.<br />
<br><br><br />
==Scenic==<br />
[[File:Stage Right- sm- JR.JPG|thumb|right|x500px]]<br />
Designing the set for "The Play That Goes Wrong" is a unique process because it is a play within a play. As the designer for "A Play That Goes Wrong" the overall set design must be considered. However, the show is a performance of an amateur theater company attempting to perform a show. Therefore, to establish the set on the visual level, the designer must act as the designer for that company. The set must be designed to look like it was designed for the murder mystery show. Furthermore, it must reflect the styles and resources of the amateur theater group. Therefore, the set would appear to be low budget and not a refined, high quality. For this part of the design, I am basing the set on the board game Clue as it is a classic example of a murder mystery that many people can recognize. Once the basic visual design of the set is established based on the murder mystery play, design considerations for "The Play That Goes Wrong" must be looked at. This includes all of the special effects that are used to make it look like the murder mystery play is going terribly wrong. The most important tool we will be using is electromagnets. Throughout the show, the set literally falls apart. Wall hangings fall down, the second story floor collapses and the walls themselves fall down. We plan to achieve these effects through the use of electromagnets that can be turned on and off. When, for example, a wall decoration should be hanging, the magnet will be turned on. When it is time for the decoration to fall, the magnet can simply be turned off. This enables simple, on-demand control of the set failures. From a booth, the magnets can be switched on and off and perhaps even integrated into the cue system. When the second story floor collapses, the fall is controlled by mechanics behind the set. The platform is supported by cantilevered beams. Backstage, these beams are held up in a system that lets them pivot and lock into place in several positions. The beams begin the show horizontal. When the floor first fails, the position can be released, and drop in a controlled manner through the use of a motor, into the next position it can lock into. This can be repeated as the platform continues to fall. In addition, the show makes use of a bit of pyrotechnics when the garbage bin catches fire. This would be the responsibility of specialists as fire is a safety hazard.<br><br />
Actually designing the set in Solidworks proved to be a good lesson in the difficulties of set design. In the model, it becomes very apparent how tricky it is to make sure every seat has a good view of the set. The proscenium arch itself quickly blocks out the view of the audience as they start to move off to either side. This requires the set to be further forward on the stage to improve visibility. Secondly, designing the side walls of the room quickly turned into an issue. In order to improve visibility, I turned the left wall out towards the audience. Instead of a 90 degree with the back wall, it is at an 118-degree angle. However, I realized the same could not be done with the other wall. This is because the floor of the second level has to be able to swing down but, if it is made with an angle greater than 90 degrees, it will not have clearance on the side. In addition, the same problem of visibility would occur that I sought to eliminate on the other side. That is also ignoring the fact that having one side turned out but not the other would create a very oddly shaped room. It is at this point that I revisited the original set. My set had already been based on it a bit, as the story line and set were closely related meaning that the set couldn't be changed too much and still have the lines and action work. The set pieces had to be able to fail certain ways in order to fit with the story. When I looked at the set again I realized how the designer played with perspective. The back wall was actually split into sections that enabled them to bend it so each side wall could be angled out without the back wall seeming warped. Therefore, set design is not nearly as simple as creating an image in your head of the scene and putting it on the stage. In the rendering of my simplified set, some of my ideas for modification to the original set can be seen. First of all, while the rendering does not contain all the details, the concept is still for the set to be less elegant than the original set. This fits with the theme that the theater company within the show is low budget and amateur. Secondly, the furniture and color scheme were inspired by the board game Clue. In particular, the couch was designed after couches seen on the board game in the lounge and study. The wall color was also based on the game and the light color is meant to keep the area appearing open and large as light colors make spaces seem larger.<br />
<br><br><br />
<br />
==Props==<br />
The props are very important to the show due to the fact that they add to the humor of the play within the play. The play itself is called ''The Play That Goes Wrong'' and that's what is shown to the audience. The missteps and malfunctions of the Cornley Polytechnic Drama group that go horribly wayward are captured. Below are some of the important props that make the show a comedic success. <br />
{{Infobox<br />
|title = collie<br />
|bodystyle = width:25em<br />
|image = [[File:dog-2286773_1280.png|x450px|alt=Milestone Image]]<br />
|label1= Painting prop<br />
|data1= royalty free image <br />
}}<br />
=== Picture of the Collie ===<br />
It may seem like an odd prop, but this picture is very important to some of the humor of the play. During the show, characters are interviewed by Inspector Carter to determine who killed Charles Haversham. When Cecil Haversham, the brother of the late Charles Haversham, is interviewed by Inspector Carter, the inspector looks at the picture above the broken mantel and asks if the picture of the dog is a portrait of the father. It is obvious that the wrong picture was put up during the set decoration and it shows how the production company producing the show is not at all organized. The conversation progresses and the detective asks if the recently departed Charles was the spitting image of his father, again depicted by the picture of the dog. I choose a picture of a silly looking dog to add to the funniness of the situation and allow the audience to try to picture the actor as a dopey looking dog. If I could get a picture made, I would have the dog holding a whiskey glass and playing cards. The prop has a magnet on it which keeps it attached to the wall and when the door gets shut at the end of the act all of the stuff hanging on the walls falls off by the disengagement of the magnets. This adds to the dysfunction of the show and makes everyone laugh. <br />
<br><br />
{{Infobox<br />
|title = "white spirit"<br />
|bodystyle = width:12em<br />
|image = [[File:glass-565914_640.jpg|x450px|alt=Milestone Image]]<br />
|label1= Drinkable prop<br />
|data1= royalty free image<br />
}}<br />
=== White Spirit and Whiskey bottles ===<br />
Fake alcohol is often used in theater to liven the mood and add to the plot. As said earlier, props can be something that is edible or drinkable on stage, so the “liquor” does count under the umbrella term of props. During the show, after Charles Haversham’s death, the characters decide to grab some of Charles’s whiskey to calm down. The lines say that the first bottle grabbed is empty but the actor grabs the full bottle so he pours it out. Then when the character grabs the bottle that is supposed to be full it is the empty bottle previously looked for. It is obvious that when the two bottles were placed they were switched or the actor got the bottles from the wrong places. Either way, the scene shows the cast and the production company’s incompetence. The murder mystery inside of the show is just so bad it’s funny. The next problem is that there is no liquor for the cast to drink during the following scene. Instead, the stage manager hands out a few glasses with a bottle of unknown “white spirit” that looks like some cleaning detergent. When the actors are forced to take a drink they all spit it out because of it, of course, tastes terrible. For these props, I will have two generic whiskey bottles, one full of a brownish liquid and one empty. For the “white spirit” handed to the actors as an alternative, I will have a glass bottle with a do not drink sign on it to make sure that the audience understands the mistake and why the actors are spitting the liquid out. <br><br />
{{Infobox<br />
|title = vintage couch<br />
|bodystyle = width:12em<br />
|image = [[File:couch-1952918_640.png|x450px|alt=Milestone Image]]<br />
|label1= Furniture props<br />
|data1= royalty free image<br />
}}<br />
=== Couch ===<br />
The couch is another classic piece of furniture used on the stage. The show takes place during an engagement party on a cold December night during the 1920’s. Therefore, the couch is in the style of that time period. The couch is at the center of the stage and it the center of the drama due to the fact that is where Charles Haversham’s body is found. There is nothing really special about the couch other than having collapsing legs. For the set, I would have a couch that looks like it’s from that time period and has it placed in the center of the stage to attract attention to it. <br />
<br><br />
{{Infobox<br />
|title = stretcher<br />
|bodystyle = width:25em<br />
|image = [[File:vintage-1636373_640.jpg|x450px|alt=Milestone Image]]<br />
|label1= Illusion Prop<br />
|data1= royalty free image<br />
}}<br />
=== Stretcher ===<br />
A stretcher is another weird prop to find on stage, but props are meant to have attention drawn to them. During the show, the stretcher is used to lift away the dead body, but this stretcher is from the 1920’s. It is basically two long horizontal poles with canvas that is sewn with holes to put the poles through. The funny part of the show is that, when the actors are trying to pick up the body, the two poles rip from the canvas leaving the body and the rest of the canvas under the body. The “dead” body Charles then grabs the poles with his arms and legs to be carried off the stage. It is really funny due to that fact that no matter what the actors do, nothing goes right. To create the stretcher, I would take two seven foot wooden poles and sew the canvas to fit around the poles with enough room to cradle a body inside. I would then have the base Velcroed so that it would imitate ripping when the body is lifted. <br />
<br> <br><br />
<br />
==Lighting==<br />
<br><br />
[[File:Lighting_The_Play_that_Goes_Wrong.jpg|500px|alt=Image ]]<br />
<br />
<br><br />
The lighting design for ''The Play that Goes Wrong '' is used to add to the comic timing and the absurdity of the play. As previously stated, the show is performed by an amateur theater company who has had several attempts at performing shows such as "Cats" and "James and the Peach" with each show resulting in failure. They are determined to make this show called, ''Murder at Haversham Manor'' a success. The wash for this play remains constant throughout the entire play and there are some attempts to make the lightning fancier with spotlights and flashes of red for dramatic effect. The stage is a stage on a stage, which sounds confusing. The diagram above displays what the stage looks like with the lights and their position on the batons and side mounting infrastructure. The scene of the play does not change and takes place in a living room and study on a cold winter's night as well as behind the set.<br />
<br />
<br><br />
Starting with the lights that are between the fake backstage and backstage, our plan is to use PAR 64 strip lights with ROSCO 81 Urban Blue with Diffuser. The Urban Blue color is a great color to imitate a very cold, brittle scene. There is a diffuser to dampen the coolness and imitate an amateur lighting designer's attempt at making the set cool. These lights will be shining straight downward creating the cool winter scene. For the wash, backwash and side wash, we will use the Source 4 PARNel WFL, the Source 4 PAR MFL and Chauvet LED PAR 64 fixtures. The WFL is to light the wide stage, but because they are to have a wide dispersion of light, the color will be lacking in color intensity. The MFL is also to light the stage; it will have a greater color intensity, but will only have a throw distance of the front of the stage. There will be ROSCO 02 Bastard Amber and ROSCO 4830 CC 30 Pink gels in the fixtures since these colors are excellent on every skin tone and create a happy, warm tone. We have several fixtures meant for spotlighting actors; the Q500NSP (PAR 56 NSP) and ETC 405 (5-degree Source Four). The ETC fixture is meant to spot someone centered on the stage and the QS500NSP is meant to spot someone who is on the left and right middle of the stage. These lights do not have gels because white light is sufficient to spotlight any character. The last two fixtures are the MAC TW1. These are dynamic fixtures meaning that they have a certain degree of rotation in the x and y-axis. They are able to track moving people and can display a CMY spectrum of colors. These will be used for the few scenes of attempted fancy lighting. The angles of the lights that are listed in the table below are only approximate; there is a high chance, that when the master electrician is hanging and focusing the lights, the angles will change.<br />
<br />
<br><br />
There are only a few scenes with "fancy lighting", so the rest is leaving the wash up on the set. These scenes include the opening of the play and during a scene in the beginning where the dead body is found. However, an actor doesn't make his cue and the effect is repeated two or three times as the entire cast repeats that there has been a murder. In the opening of the play, there is a spotlight where the "director" of the play is supposed to stand in to present his play, but he is only half in the light because he did not step forward enough to be in the light. We plan to use the ETC 405 fixture to shine a spot on the stage and have it focused so that we miss the actor. Our plan for the actor who is supposed to be dead on a couch is to use one of the MAC TW1 to shine a spot on him while he is still getting into his place. Lastly, when the cast says "murder", we plan to use both of the MAC TW1s to flash red on the group of actors on the center of the stage. <br />
<br />
<br><br />
===Lighting Details===<br />
{| class="wikitable" width="80%"<br />
! Name<br />
! Angle<br />
! Colour<br />
|-<br />
! scope="row"| Chauvet LED PAR 64<br />
| align="center"| 135<br />
| align="center"|ROSCO 02 Bastard Amber<br />
|-<br />
! scope="row"| Chauvet LED PAR 64<br />
| align="center"| 225<br />
| align="center"| ROSCO 02 Bastard Amber<br />
|-<br />
! scope="row"| Q500NSP (PAR 56 NSP)<br />
| align="center" |135<br />
| align="center" |No Need<br />
|-<br />
! scope="row"| Q500NSP (PAR 56 NSP)<br />
| align="center" |135<br />
| align="center" |No Need<br />
|-<br />
! scope="row"| ETC 405 (5 degree Source Four)<br />
| align="center" |0<br />
| align="center" |None<br />
|-<br />
! scope="row"| Par 64 Strip (WFL)<br />
| align="center" |0<br />
| align="center" |ROSCO 81 Urban Blue with Diffuser<br />
|-<br />
! scope="row"| Par 64 Strip (WFL)<br />
| align="center" |0<br />
| align="center" |ROSCO 81 Urban Blue with Diffuser<br />
|-<br />
! scope="row"| Par 64 Strip (WFL)<br />
| align="center" |0<br />
| align="center" |ROSCO 81 Urban Blue with Diffuser<br />
|-<br />
! scope="row"| Par 64 Strip (WFL)<br />
| align="center" |0<br />
| align="center" |ROSCO 81 Urban Blue with Diffuser<br />
|-<br />
! scope="row"| Par 64 Strip (WFL)<br />
| align="center" |0<br />
| align="center" |ROSCO 81 Urban Blue with Diffuser<br />
|-<br />
! scope="row"| Source Four PARNel WFL <br />
| align="center" |90<br />
| align="center" |ROSCO 02 Bastard Amber<br />
|-<br />
! scope="row"| Source Four PARNel WFL <br />
| align="center" |270<br />
| align="center" |ROSCO 02 Bastard Amber<br />
|-<br />
! scope="row"| Source Four PARNel WFL <br />
| align="center" |30<br />
| align="center" |ROSCO 02 Bastard Amber<br />
|-<br />
! scope="row"| Source Four PARNel WFL <br />
| align="center" |15<br />
| align="center" |ROSCO 02 Bastard Amber<br />
|-<br />
! scope="row"| Source Four PARNel WFL <br />
| align="center" |0<br />
| align="center" |ROSCO 02 Bastard Amber<br />
|-<br />
! scope="row"| Source Four PARNel WFL <br />
| align="center" |345<br />
| align="center" |ROSCO 02 Bastard Amber<br />
|-<br />
! scope="row"| Source Four PARNel WFL <br />
| align="center" |335<br />
| align="center" |ROSCO 02 Bastard Amber<br />
|-<br />
! scope="row"| Source Four PARNel MFL<br />
| align="center" |15<br />
| align="center" |ROSCO 4830 CC 30 Pink<br />
|-<br />
! scope="row"| Source Four PARNel MFL<br />
| align="center" |0<br />
| align="center" |ROSCO 4830 CC 30 Pink<br />
|-<br />
! scope="row"| Source Four PARNel MFL<br />
| align="center" |0<br />
| align="center" |ROSCO 4830 CC 30 Pink<br />
|-<br />
! scope="row"| Source Four PARNel MFL<br />
| align="center" |350<br />
| align="center" |ROSCO 4830 CC 30 Pink<br />
|-<br />
! scope="row"| Martin Mac TW1<br />
| align="center" |20<br />
| align="center" |No Need<br />
|-<br />
! scope="row"| Martin Mac TW1<br />
| align="center" |340<br />
| align="center" |No Need<br />
|-<br />
|} <br />
<ref>"Source Four ® 5 ̊ Ellipsoidal Series". Texas Scenic. N.p., 2017. Web. 14 June 2017.</ref><br />
<br><br><br />
<br />
==Sound==<br />
<br><br />
[[File:Sound_The_Play_that_Goes_Wrong.jpg|500px|alt=Image ]]<br />
<br />
The sound design for ''The Play that Goes Wrong'' is not very complex and was purposefully done this way. The cast is made up of only 8 members who have only spoken parts. There is one cast member, who acts as the sound board operator and director, who seems to wear a Clear-Com looking headset that does end up projecting through the speakers. Characters will each have a microphone pack that will be projected out through 4 speakers that are hung on vertical struts. These speakers will have 90 degree dispersion, with 45 degrees of dispersion on each side of the axis. Two of the speakers will be located at the front orchestra section mounted at 45 degree angles from where they are mounted. This will project the sound to the first level of the theater. The other two smaller speakers will be mounted on the wall at the front of the second level and will be lined up against the wall. The diagram above shows the design. <br />
<br><br />
In the show there are multiple sound effects that go off throughout the show. In the table below, the act, scene, name and file is presented. These are the sounds we would pick if we were to produce the show. We are using YouTube videos that were converted into MP3 files. The references section has the links to the videos.<br />
<br><br />
{| class="wikitable" width="80%"<br />
! Act <br />
! Name<br />
! Listen<br />
|-<br />
! scope="row"| 1<br />
| align="center"| Creaking Door<br />
| align="center"| <mp3player>File:WoodDoor.mp3</mp3player><br />
<ref>Wood Door Creak Open Sound Effect. (2014). https://www.youtube.com/embed/U3Hqd6fw-i8. </ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Door Slam<br />
| align="center"|<mp3player>File:DoorSlam.mp3</mp3player><br />
<ref>Door Slam Sound Effect (Download Link). (2012). https://www.youtube.com/watch?v=fNNhE0Cz2QY.</ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Dramatic Music<br />
| align="center"|<mp3player>File:Suspense.mp3</mp3player><br />
<ref>Suspense Sound Effects. (2016). https://www.youtube.com/watch?v=ziobtd9JTtk.</ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Flame Lighting<br />
| align="center"| <mp3player>File:Fire.mp3</mp3player><br />
<ref>Fire sound effect (3). (2011). https://www.youtube.com/watch?v=Zmw32wCGWuc.</ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Body Hitting the Ground<br />
| align="center"| <mp3player>File:Bodyeffect.mp3</mp3player><br />
<ref>Body Fall SOUND EFFECT - Körper fällt zu Boden SOUNDS. (2015). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Telephone Ringing<br />
| align="center"| <mp3player>File:Old_phone_-_sound_effect.mp3</mp3player><br />
<ref>old phone - sound effect. (2012). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Drawing Sword<br />
| align="center"| <mp3player>File:Draw_sword_sound_effect_(2).mp3</mp3player><br />
<ref>Draw sword sound effect (2). (2012). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Sword Clashing<br />
| align="center"| <mp3player>File:Sword_clash_sound_effect_(1).mp3</mp3player><br />
<ref>Sword clash sound effect (1). (2012). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Gun Shot<br />
| align="center"| <mp3player>File:MLG_Gun_Shot_Sound_Effect.mp3</mp3player><br />
<ref>MLG Gun Shot Sound Effect. (2016). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Crash<br />
| align="center"| <mp3player>File:LOUD_CRASH_SOUND_EFFECT.mp3</mp3player><br />
<ref>LOUD CRASH SOUND EFFECT. (2015). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Dramatic Music Repeat<br />
| align="center"| <br />
|-<br />
! scope="row"| 1<br />
| align="center"| Dramatic Music Repeat<br />
| align="center"| <br />
|-<br />
! scope="row"| 1<br />
| align="center"| ''Girls on Film'' by Duran Duran<br />
| align="center"| <mp3player>File:Duran_Duran_-_Girls_On_Film.mp3</mp3player><br />
<ref>Duran Duran - Girls On Film. (2010). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 2<br />
| align="center"| Dramatic House Music<br />
| align="center"| <mp3player>File:Open.mp3</mp3player><br />
<ref>🎹 Trevor DeMaere - Opening Stargate (DramaticEpic Orchestral Music). (2012). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 2<br />
| align="center"| Paper Scattering<br />
| align="center"| <mp3player>File:Papers_Falling_SOUND_Effect.mp3</mp3player><br />
<ref>Papers Falling SOUND Effect. (2016). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 2<br />
| align="center"| Clock Chiming<br />
| align="center"| <mp3player>File:Clock_chimes_12_Sound_Effect_(SUPERB).mp3</mp3player><br />
<ref>clock chimes 12 Sound Effect (SUPERB). (2012). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 2<br />
| align="center"| Knocking on Wooden Door<br />
| align="center"| <mp3player>File:Loud_Knocking_on_Door_Sound_Effect.mp3</mp3player><br />
<ref>Loud Knocking on Door Sound Effect. (2014). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 2<br />
| align="center"| Telephone Ring Repeat<br />
| align="center"| <br />
|-<br />
! scope="row"| 2<br />
| align="center"| Doorbell Rings<br />
| align="center"| <mp3player>File:Door_Bell_Sound_Effect.mp3</mp3player><br />
<ref>Door Bell Sound Effect. (2015). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 2<br />
| align="center"| Vase Shattering<br />
| align="center"|<mp3player>File:Glass_Vase_Shattering_Sound_Effect.mp3</mp3player><br />
<ref>Glass Vase Shattering Sound Effect. (2014). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 2<br />
| align="center"| ''Rio'' by Duran Duran <br />
| align="center"| <mp3player>File:Duran_Duran_-_Rio.mp3</mp3player><br />
<ref>Duran Duran - Rio. (2009). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 2<br />
| align="center"| House Music<br />
| align="center"| <mp3player>File:Duran_Duran_-_The_Reflex.mp3</mp3player><br />
<ref>Duran Duran - The Reflex. (2009). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
|} <br />
<br />
<br><br><br />
<br />
==Costumes and Hair and Makeup ==<br />
Costumes, hair and makeup are being based on 4 main characters in ''The Play That Goes Wrong''. The characters have hair, makeup, and costumes based on their attributes and the situations that they are in. <br />
<br><br />
<br />
{{Infobox<br />
|title = Annie <br />
|bodystyle = width:12em<br />
|image = [[File:unat.png|x360px|alt=Milestone Image]]<br />
|label1= Thanks to<br />
|data1= [[User:Nbloniarz|Natalie Bloniarz]]<br />
}}<br />
=== Annie === <br />
Annie is the company's stage manager who makes sure that the actors go on stage at the right time and that the whole backstage is taken care of. She can often be found around the stage trying to keep the show from falling apart. During the beginning of the show she can be seen fixing the broken set and she seems to be pretty well versed in the nuances of the stage and how to fix the stage. Her first costume would be her wearing a nondescript worn t-shirt and a pair of also worn jeans or overalls with a tool belt. This will give her the jack of all trades look. She would have little to no makeup on so as not draw any attention to her. Her hair would pulled up into either a ponytail or pigtails. Her second look (seen in the picture to the right) would be for when she has to take over the role of Florence Colleymoore due to an accidental head injury to the actress. They throw her on stage in the ill-fitting red flapper dress of Ms. Colleymoore, a slightly askew flapper wig right over top of her own hair with the ponytail or pigtails sticking out, and a hasty makeup job. The makeup is absolutely terrible and totally rushed. To achieve this look I first applied a base skin tone foundation and then added some contour on the cheeks to give them more definition. I put a darker concealer under the eye to give the impression of dark circles, which is the opposite of what is typically desired. The eyebrows were filled unevenly and eccentrically to show the haste in the makeup. The lips are smudged and overdone along with blush that covers too much of the cheek. Overall the look should scream overdone, rushed, and terrible, as seen in this picture.<br />
<br><br />
<br />
{{Infobox<br />
|title = Trevor <br />
|bodystyle = width:12em<br />
|image = [[File:mben.png|x360px|alt=Milestone Image]]<br />
|label1= Thanks to<br />
|data1= [[User: Bjsecino|Benjamin Secino]]<br />
}}<br />
=== Trevor ===<br />
<br />
Trevor is the company's lighting and sound operator who makes sure the lighting and sound cues go on during the right part of the script. He is a bit absent minded during the show and can be seen running around fixing things or missing his cues. During the show, he accidentally calls over his com to the audience his notes, which are noting the error on stage to the stage manager, so that the audience notices it even more. One can see him missing sound and lighting cues while he is looking at his phone. Trevor also loses his Duran Duran CD, which he plays as a sound cue by accident and the CD is found in the final scene instead of an important ticket. His demeanor shouts “I don’t care” and tiredness. For his costume, I would have him wear all black, which is the usual technical crew member's outfit. I would leave the actor's natural hair since it adds nothing to the show. His makeup would emphasize under eye bags and would be as natural as possible while highlighting all of the person’s facial flaws. I would have him either grow some stubble or draw it own. To achieve this look I would start with a base foundation of his skin color, stipple highlight, and contour in order to shape his face a little. To create the illusion of wrinkles I would take two different colors, dark and light, and have him wrinkle his forehead. In the crevasses, I would put the darker color and on the top put the lighter color. I would then use a makeup sponge to blend the colors to make the look more natural. To create the stubble on a clean shaven face I would start with a darker foundation around his jawline and then speckle black dots in that area. Then I would blend until I got the desired look. Trevor’s final look would be one of not caring and gross exhaustion. <br><br />
<br />
{{Infobox<br />
|title = Inspector Carter <br />
|bodystyle = width:12em<br />
|image = [[File:oben.png|x360px|alt=Milestone Image]]<br />
|label1= Thanks to<br />
|data1= [[User: Bjsecino|Benjamin Secino]]<br />
}}<br />
=== Inspector Carter (Chris) ===<br />
<br />
Chris is the actor who plays Inspector Carter during the show. Inspector Carter is an esteemed detective called to investigate the death of the healthy, wealthy, and soon to be married Charles Haversham. This show takes place during the 1920’s, so I decided that he should have the look of a 1920’s gentleman. For his costume, I will be taking inspiration from Sherlock Holmes and the quintessential gentleman of the 1920’s. So I would have him wear a pair of trousers, black leather shoes, white shirt, tie, and a long trench coat. This will give him the look of authority during a play that is quite literally falling apart at the seams. Inspector Carter’s hair, if possible, would be slicked back and combed with a part to one side. For the makeup, I would start out with a skin tone foundation and then highlight and contour his face to give him higher cheek bones to make him more proper looking. This would be smudged and blended with a makeup sponge. I would put some dark concealer inside his smile lines to make him look older and wiser. He would also have a small mustache, which could be modeled from Gomez Addams’ mustache. It would be drawn on by hand and then smudged with a brush. He needs to look prim and proper to add contrast to the lack of professionalism during the show. <br />
<br><br />
{{Infobox<br />
|title = Florence Colleymoore <br />
|bodystyle = width:12em<br />
|image = [[File:bnat.png|x360px|alt=Milestone Image]]<br />
|label1= Thanks to<br />
|data1= [[User:Nbloniarz|Natalie Bloniarz]]<br />
}}<br />
=== Florence Colleymoore (Sandra)===<br />
Sandra is the leading lady of the ''Murder at Haversham Manor'' and plays Florence Colleymoore , the soon to be married fiancé of the late Charles Haversham. Her style is of a 1920’s flapper girl who is very seductive and suggestive. She would have a red dress with a modest neckline and that comes down to the mid-calf. It should look kind of cheap looking and be paired with a short kitten heel and skin tone tights. Underneath the dress, she should wear spandex shorts due to the fact she gets knocked out by a door during the middle of the first act and gets carried off through a stage window in the most ungraceful way. The spandex will ensure that the audience does not see more than they paid for. Her second outfit will be when she comes on stage in the spandex and a bra trying to take back the roll from Annie the stage manager. It will be clear that they stripped Sandra of her dress and wig to give to Annie. The makeup for Sandra would start with a skin tone foundation blended with concealer under the eyes. Next, I would stipple highlight and shadow into the face’s peaks and valleys to give the face a more multidimensional look. It should be blended so it does not look splotchy. The eyebrows should be drawn on at a medium darkness, accompanied by a pale eyeshadow. Eye makeup would be finished off with mascara and black eyeliner. I would lightly brush blush onto the apples of the cheeks and finish the whole look off with red lipstick. She will also be wearing a dark haired wig that has a blunt and short flapper hairstyle. Her appearance is important to the play due to the fact that she is one of the only female actors in the ''Murder at Haversham Manor''. She needs to stand out, but also look natural next to the rest of the cast.<br />
<br><br><br />
<br />
==Poster & Promotion==<br />
[[Image:TPTGS Poster.jpg|thumb|right|x600px]]<br />
For promotion, I designed a poster that can be distributed through a variety of modes such as being hung up in the tube stations, hung around the West End, featured on online theater booking sites and social media. The design was meant to be simplistic and bold so it would catch people's attention and be easy to read quickly. I achieved this through high contrast colors and limiting the complexity of the poster. There are no small details or an abundance of colors to distract the eye from the message. The text is minimal, large, and easy to read. A small line of text can be added underneath the title to indicate the date without detracting from the title. That text would be white and in a basic font. The different elements of the poster are also based on themes of the show. To emphasize the theatrical aspects the font is similar to the one associated with Broadway, the page is framed by a theater marquee, and stage lighting casts a spotlight on the text. To emphasize the chaos of the show lights on the marquee are broken, half of the word "wrong" is falling down, one of the spotlights is broken and the other one is shining a bit too far right also casting more focus on the falling letters.<br />
<br><br><br />
<br />
=Conclusion=<br />
<br><br />
A theater production is so much more than just the actors. Without the production team, there would be no show. The acting is only just the surface of what goes into a show. When putting on a show, all aspects of the production must be closely considered. The set must allow maximum visibility to the entire audience, be a functional space and contribute to setting the tone of the show. Lighting must highlight both the set and actors and establish tone. The sound system must give every audience member clear, audible sound. Costumes and makeup should give a visual representation of the characters while maintaining functionality for the actors. Finally, the promotional team must ensure that there is an audience to see the show. "The Play That Goes Wrong" simultaneously demonstrates what to do and what not to do. The fictional theater group in the show creates an unstable, unsafe set, misplaces props and misses an actor with their spotlight among other mistakes. However, the show as a whole features many aspects done right by the real-life theater company. The sound system, while simple, is effective and special effects are carried out in a safe manner. They manage to have the second floor of the set collapse in a safe manner. The set design, through subtly creating an angle in the rear wall, allows for good visibility of the entire set. <br><br />
Future research may compare other productions of "The Play That Goes Wrong". Long-term research includes how theater practices and technology evolve from where they are today.<br />
<br><br><br />
<br />
=Attribution of Work=<br />
We all participated equally in the writing, research, and effort that was put into this large project. As a group, we went to see ''The Play that Goes Wrong'' and bought the play script to help mold the show into our own.<br />
<br><br />
==Katharine Conroy==<br />
In the background and deliverable, I wrote the sections on props, hair and makeup, and costumes. <br />
<br><br />
<br />
==Lauren Conroy==<br />
I wrote the abstract, introduction, lighting background, sound background, and lighting deliverable.<br />
<br><br />
<br />
==Justine Roy==<br />
I wrote the scenic background, promotions background, modern costuming practices, scenic deliverable, promotions deliverable, and conclusion.<br />
<br><br><br />
<br />
=References=<br />
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<!--DO NOT COPY THE FEATURED CATEGORY CODE BELOW--><br />
[[Category:Featured Projects]]<br />
<!--ONLY LONDON HUA ADVISORS MAY USE THE FEATURED CATEGORY TAG ABOVE--></div>Kfconroyhttps://londonhuawiki.wpi.edu/index.php?title=Theater_Beyond_the_Actors&diff=19401Theater Beyond the Actors2017-06-22T15:47:40Z<p>Kfconroy: /* Props */</p>
<hr />
<div>=Theater Beyond the Actors=<br />
by [[User:Lconroy|Lauren Conroy]]<br>[[User:Jaroy|Justine Roy]]<br>[[User:Kfconroy|Katharine Conroy]]<br><br />
<br />
{{Infobox<br />
|title = Theater Beyond the Actors<br />
|bodystyle = width:25em<br />
|image = [[File:The Play That Goes Wrong- sm- JR.jpg|x450px|alt=Milestone Image]]<br />
|label1= The Play That Goes Wrong<br />
|data1= Duchess Theater <br />
}}<br />
<br />
<br />
[[Category:Drama & Theater Projects]]<br />
[[Category: 2017]]<br />
<br />
=Abstract=<br />
<br><br />
This milestone looks at the elements that add to the success of a show, which includes scenic, props, lighting, sound, costumes, and poster & promotion. We explored what these elements were like in early theatrical performances in comparison to modern day performances. Some of our research came from attending several current plays in the West End as well as backstage tours of the [[National Theater]], [[The Globe Theater]], and the Royal Shakespeare Company. This information was implemented into our deliverable through our own technical design of the play, ''The Play That Goes Wrong'', which we attended on May 9th. <br />
<br><br><br />
<br />
=Preface=<br />
<br><br />
As a group, we had been very involved in theater at WPI. Two of our members were involved in a combination of acting, lighting, and scenic for the Showcase in D-Term. We had all taken various drama classes including, Theater Workshop and Introduction to Drama: Theatre on the Page and on the Stage and had been taught a lot about important dramas and what it takes to put on a show. We were excited to implement what we knew and what we would learn into our deliverable. <br />
<br><br><br />
In order for any show to succeed, there must be a dedicated, creative, hardworking production team. This team has the capability of creating a show that can move the audience to laughter, tears or both. Every aspect of the production is important and the show would suffer if a portion was neglected. As a group, we discovered how much time and effort it takes to create a cohesive, successful play. Each department in the production team has to communicate with each other to assure that everything is consistent and does not clash with another department's design. Our main objective was to create a solid design for each department of the production team, specifically scenic, props, lighting, sound, costumes, and promotion. Based on our research, we were able to determine how to create our concepts using specific makeup, props, construction material and lighting fixtures. Our final designs embody all that we have learned through reading and watching "The Play that Goes Wrong" at the West End. <br />
<br><br><br />
__TOC__<br />
<br><br><br />
<br />
=Introduction=<br />
<br><br />
Theater is one of the oldest art forms that expresses thoughts and ideas through visual entertainment and performative elements. It stretches back to the time of the Romans and ancient Greeks with traditions continuing into modern day. Performances at theaters can leave audiences crying, laughing, beguiled and awe-inspired, but it takes teams of area specialized people to make sure these productions are successful. Technical groups such as scenic, props, lighting, sound, costumes, and poster & promotion aid in the creation of setting the perfect atmosphere for actors and actresses to deliver their lines and move audiences. These groups are the unsung heroes of what makes theater so spectacular.<br />
<br><br><br />
The goal for this milestone is to create our own technical designs for ''The Play that Goes Wrong'' utilizing the information we learned from the background and by seeing the show. Each of us put our own spin on the scenic, props, lighting, sound, costumes, and promotion of the play. For each section, we have some type of physical diagram or photograph displaying what we would have done if we were put in charge of each technical department of the show. The results and a statement of why we chose to design our set, props, lighting, sound, costumes, or promotional item the way we did are placed in the deliverable section.<br />
<br><br><br />
<br />
=Section 1: Background=<br />
<br><br />
When people go to watch a show, they may think of the amazing acting and/or singing that is taking place. They ooh and aah at the magnificent story told by these actors and actresses, but little do they think of the unsung heroes behind the scenes who work tirelessly to make the characters look and perform the way they do on stage. There is much more to a show than just the actors. Behind the actors, there is a huge line of support crew contributing to every aspect of the show beyond the performers who, without them, the show would not be able to go on. These people belong to the groups of scenic, props, lighting, sound, costumes, and promotional aid. Below is an in-depth analysis of these technical groups that make shows come alive. <br />
<br><br><br />
==Scenic==<br />
<br><br />
The set is affected by a number of factors including theater style, the plot, the setting, the tone, the budget and the designer's imagination. <br />
===History & Techniques===<br />
Going all the way back to the ancient Greeks, their set was just a backdrop. It was designed to provide context for the show and give a place for the actors to hide offstage. In their later years, the backdrop developed to have doors for the actors to enter and exit. The Romans adopted the Greek style and not much changed for the Renaissance and Commedia Del'Arte eras. (Carver, 2009, p 4-11) Between the 16th and 19th centuries, set designs continued to develop. During this time, the wing and drop style came into being. Wings refer to the extension of the backdrop downstage on either side. These were also called legs. Above the stage, a border was added to round out the set. These changes had the added benefit of hiding the inner workings of the theater. Another popular style to emerge was the use of Periaktoi. Periaktoi were three-sided columns that would be arranged side by side. The backdrop would be divided into columns and put on one side of each Periaktoi. The Periaktoi could then be turned, sometimes with the use of a pulley system, to reveal a given backdrop. Flying effects also developed. A platform that was attached to a vertical track could be raised and lowered with pulleys. In an effort to disguise the system, a two-dimensional cloud would mask the platform. Trolley systems for moving set pieces also developed. The pieces would be attached to tracks under the stage that would be pulled along their path using ropes and a crank. This is also the time that the iconic trap door came into being. The door in the floor would open and actors could enter or exit via ladders or primitive elevator systems. The 18th century brought technology advances that enabled quicker transitions and a desire for more realism. This desire for a more realistic experience led to the box set. The box set typically is comprised of three walls, a ceiling, and a scenic ground row. Previous stages were made at an incline to aid in visibility and acoustics with the back of the stage at a higher elevation than the front. This was done away with in order to make the set appear more natural. The box set also led to the convention of the fourth wall. This division between the performance and the audience was furthered by masking the stage from the audience before the show with a curtain. While flying was phased out of style because it was unrealistic, casters (the wheels seen on shopping carts) became the primary means for moving scenery. The revolving stage also grew in popularity as it enabled quick scene changes. The set would be constructed on a platform, built as part of the stage, that could spin. The platform with the scenery would then spin to reveal new sets. (Carver, 2009, 194-196) All of this technology is the basis for current scenic design. While technology has advanced greatly since those time, many of the concepts are still used today. <ref>Carver, Rita Kogler. Stagecraft Fundamentals. 1st ed. Boston: Focal, 2009. Print.</ref><br />
<gallery mode="packed" heights=300p caption="Periaktoi"><br />
Image:Beach Periaktoi- sm- JR.JPG<br />
Image:Periaktoi Transition- sm- JR.JPG<br />
Image:Forrest Periaktoi- sm- JR.JPG<br />
</gallery><br />
<br />
===Design Considerations===<br />
As I said previously, there are many factors that go into the set design. Clearly, there are many options available to scenic designers and they must choose those that best achieve their creative image within their constraints. Depending on the venue and the show, the budget can vary greatly. Broadway and West End shows have massive budgets that allow for costly effects. These shows can showcase expensive effects such as pyrotechnics and trap doors. On the other hand, the local theater will have a much smaller budget and will have to keep the set simpler or get quite creative with the resources they have. Another important factor is the style of theater. Most people are accustomed to the proscenium theater where all of the action takes place behind the proscenium arch. With a proscenium stage, the designer only needs to worry about the audience on one side of the stage and what can be seen at different angles to the stage. However, thrust stages that have the audience on three sides, arena stages with the audience on all sides and black box theaters that can have the audience theoretically anywhere require more careful consideration. It is easy to block the view for parts of the audience due to large scenic pieces. While a couch may be a useful place to sit, this could result in blocking the view for those situated behind or to the side of it if it is not carefully considered. Spectators' view should never be compromised unless for very good reason as every person is paying to see the show and should have a good experience. In addition, limited backstage space as a result of the style of the stage could limit set changes. (Carver, 2009, p 14-19) Naturally, the tone, setting, and plot of the show all contribute to the designer's vision for the set. The set must reflect the environment the show takes place in, be a functional space for the actors to work in and contribute to the feel of the show.<ref>Carver, Rita Kogler. Stagecraft Fundamentals. 1st ed. Boston: Focal, 2009. Print.</ref><br />
<gallery mode="packed" heights=150p><br />
Image:Proscenium- sm.jpg|Proscenium Stage<ref>By User:FA2010 (Own work) [Public domain], via Wikimedia Commons</ref><br />
Image:Thrust-sm.JPG|Thrust Stage<ref>By Wharton Center (Own work) [CC BY-SA 3.0 (http://creativecommons.org/licenses/by-sa/3.0)], via Wikimedia Commons</ref><br />
Image:Arena- sm.jpg|Arena<ref>By Savino Paolella [CC BY 2.0 (http://creativecommons.org/licenses/by/2.0)], via Wikimedia Commons</ref><br />
Image:Black Box.jpg|Black Box Theater<ref>See page for author [CC BY-SA 3.0 (http://creativecommons.org/licenses/by-sa/3.0)], via Wikimedia Commons</ref><br />
</gallery><br />
<br />
===Design===<br />
While there is no mandatory process for set design, it typically includes many sketches and models of the design. This is important so the set designer can effectively communicate their vision for the set with the director and other departments to create a cohesive image. Early stages of design might be represented through sketches then renderings. As the design develops, a scale model of the set on the stage will be created. This allows for people to get a good idea of the space there is to work with. Audience views, lighting and functionality can be tested. Once the design is finalized, technical drawings will be sent out to the fabrication shops for it to be constructed. (Carver, 2009, p 197-205) When designing the set, not only are there the previously mentioned techniques and considerations for the designer to keep in mind, there are also artistic considerations. The first thing a designer might do is research the setting of the show. For example, if the show is set in the past, then the designer will want to capture the architecture of the time. Once they develop an idea of what the set should convey and the elements that it should contain, the designer must decide how to put it all together. In part, this may come from how an actor is supposed to move through the space. If the set is a house that the character walks through then it might be necessary that the kitchen and living room are located next to each other. However, much will be left to the designer's discretion. One rule of thumb is the rule of thirds. Imagine that the scene is divided into a three by three grid. Positioning focal points along the two imaginary horizontal and vertical lines creates an image that is supposed to be more visually appealing. It is typical for a person to just focus on the center of what they see. By creating the other focal points, it draws the viewer's attention to more of the scene and makes the image more interesting. Set design calls on many more features seen in art. Line style, color, texture, line weight, shape, pattern, scale, and shades should all be taken into account. Cool colors create a sad or mellow tone whereas warm colors are happier and more energetic. Straight lines can be harsh while curved lines are typically soothing. Bright colors indicate a happy mode while dark colors can be upsetting and mysterious. (Carver, 2009, p 33-73) Therefore, set design is a process of considering a variety of elements and determining the best way to combine them to achieve the desired effect. There is no one correct design.<br />
<ref>Carver, Rita Kogler. Stagecraft Fundamentals. 1st ed. Boston: Focal, 2009. Print.</ref><br />
<br />
===Fabrication===<br />
Designing the set is still only just the beginning. Once the technical drawings are handed over, the set still needs to be created and there are a variety of ways to achieve this. Sometimes the drawings will specify details such as materials. Often times it is the decision of those making the set. Most of the time the set is not made of what the audience would expect. Large marble and brick structures could be painted wood. Stone or metal statues could be carved from foam. In the world of theater, nothing is as it seems. This is where the artistic skill of those creating the set comes in. A common set piece is the flat. A flat is essentially a painted piece of plywood or some other composite board. When painted correctly, the flat could appear to be much more than it is. Scenic artists have developed techniques for convincingly painting the appearance of different surfaces onto flats, backdrops and other scenic pieces. Marble is created by painting several layers of paint, according to certain complimentary color schemes, and swirling the paints. Brick is also achieved by layering paint. Often times clay or other mediums can be used to add texture beyond what painting can provide. This part of the process has endless possibilities. If an artist has a vision, they are sure to find some creative method of fulfilling it. (Carver, 2009, p 205-244)<br />
<ref>Carver, Rita Kogler. Stagecraft Fundamentals. 1st ed. Boston: Focal, 2009. Print.</ref><br />
<br />
===Current Examples===<br />
National Theater's [[National Theater#Theater Space#Olivier Theater|Olivier Theater]] is set up for advanced scenic techniques and designs. The fly is 30 meters high and automated enabling quick and smooth set transitions. It has enough power to lift a double decker bus enabling them to store large scenic elements. The most notable technology they have is the drum under the stage. The drum spins enabling a rotating stage. In addition, it is split into two halves with each half being a stage lift. In the past, these lifts have been used to reveal the cross section of a ship in a production of "Treasure Island". The recent production of "Twelfth Night" made good use of the technology available. The set featured a revolving stage. There was a wedge that could rotate and split apart into different slices that would reveal the various sets. The revolving motion was also used to indicate motion and travel. For example, as the actors drove off stage at the end of the first scene, the stage also spun giving the cars more distance to travel as well as transforming the set. In addition, there were two trap doors used to reveal a hot tub and a fountain. A revolving stage was also used in the performances of "Harry Potter and the Cursed Child" at the Palace Theater. The effect was not as dramatic as in "Twelfth Night" where the entire set rotated. Instead, the revolving stage was used to create motion. Specific scenic elements were able to wobble back and forth or spin. For example, Hogwarts' moving stairs were able to spin to mimic their movement. Sometimes the stage would rotate to counter the movement of a character enabling them to walk further than they actually had. Other times characters would be moved without them walking. The set itself was simplistic in comparison to the spinning set seen at the National Theater. There was a backdrop and flats along each of the wings. These flats were on some sort of carriage system that enabled them to be slid side to side. This came in handy when the stage had to be transformed into the Forbidden Forrest. The flats were able to be slid into the stage space to create the trees. The set of "Don Juan in Soho" at the Wyndham's Theater was also notable. While much of it was created through the use of furniture and projections, the set underwent a radical change at the end of the show. The entire stage space was transformed when the sides of the stage swung outward. This created a wider image. The ceiling then tilted down towards the back of the stage which heightened the effect of the widening of the stage while focusing attention towards the back of the stage where actors were. The [[Royal Opera House]] also has a unique system for managing their set. They have a wagon system designed by Rolls Royce. When sets are delivered to the theater, they are stored in a conveyor system. When they are needed, the stage and set are placed on wagons that can slide into a spot on the permanent stage and be lowered hydraulically into place. This enables them to completely switch between the sets for two different shows in just twenty minutes. Furthermore, the Royal Opera House makes the entirety of their sets off-site in Thurrock. In contrast, National Theater makes roughly 60-80% of their sets. Their set building process takes place over just six to eight weeks. Parts will be constructed from scratch or bought and modified if it proves more economic and efficient. One trick they use when creating intricate or heavy set pieces is to use foam. For example, decorative molding that would take a long time to carve out was created by making a mold and filling it with expanding foam. The foam was then painted gold and appeared as if it was authentic. Unfortunately, despite all the work that goes into these sets, they cannot be reused due to the copyright on them. After the run of a production, they are put in storage until they are eventually recycled.<br />
<br><br><br />
<br />
==Props==<br />
Props, simply put, are pieces of property of the theater company that enhances the set and story. It comes as no surprise that "prop" is just the shortening of property. Props range from elaborate falling chandeliers to plain coffee cups. It is an umbrella term for anything that is portable on stage and does not fall into any other category. Ironically, food and drink consumed on stage fall under the category of a prop. They are used to enhance the plot and characters or the show. Props have been used since the beginning of theater, most notably in Greek and Roman use of masks (Bieber, 1961, p.) <ref> Bieber, M. (1961). The history of the Greek and Roman theater: 2d ed., rev. and enl. Princeton, NJ: Princeton University Press. </ref> However, there is not a lot of history on props as they are often less memorable than a costume or wig, despite that many times they are the height of the tension or excitement in a show. Andrew Sofer demonstrates this best with the use of a prop gun as the medium of drama for a show’s plot. He uses the example of Henrik Ibsen’s “Hedda Gabler” to show the double meaning between killing time and how Hedda must kill herself to end time (Sofer, 2003 p. 167- 203). <ref> Sofer, A. (2003). The stage life of props. Ann Arbor, MI: Univ. of Michigan Press. </ref> He does an in-depth analysis of the symbolism of gun usage in different shows to kill not only one’s self but also all that it represented. One can see that props have a special place on a show’s stage and are necessary to communicate ideas important to the plot. <br />
<gallery mode="packed"><br />
Image:figs-1620590_640.jpg|''Edible Props'' Couleur. (2016). Fig photograph. Licensed under Creative Commons Zero on Pixabay.com<br />
<ref> Couleur. (2016, August 25). Fig [Photograph]. Retrieved from: https://pixabay.com/en/figs-red-coward-fruit-fruits-sweet-1620590/ </ref><br />
<br />
Image: burning-money-2113914_640.jpg|''Flammable Prop''Intellectual. (2017). Prop photograph. Licensed under Creative Commons Zero on Pixabay.com<br />
<ref> Intellectual. (2017, January 24). Prop [Photograph].Retrieved from: https://pixabay.com/en/burning-money-dollars-cash-flame-2113914/ </ref><br />
<br />
Image: glasses-543117_640.jpg|''Glasses'' <br />
Timbo84. (2014). Glasses photograph. Licensed under Creative Commons Zero on Pixabay.com<br />
<ref> Timbo84. (2014, November 23). Glasses [Photograph].Retrieved from: https://pixabay.com/en/glasses-ray-ban-black-sehhilfe-543117/ </ref><br />
<br />
</gallery><br />
<br><br><br />
<br />
==Lighting==<br />
===The Early History of Lighting in Theaters===<br />
The theaters of the ancient Greeks were always open and performances always took place during the day. They based the start time of the show on the position of the sun in the sky. That way, if darkness was needed, they would have the night sky. In Shakespeare’s time, theaters were moved indoors, so the candles were needed for lighting. The first type of candles used was called footlights because they were located near the actors’ feet. Traditionally, these lights were located on the downstage edge and apron of the stage. Eventually, just putting candles at the edge of the stage would no longer suffice as more control over lighting was desired. It was then discovered that putting a reflective surface behind the candle, between the audience and the actor, would intensify the light. To change the color of the lights, colored liquid would be placed between the footlight and actors. Gas became popular in the late 1700’s and the early 1800’s when it began to be pumped into buildings for lighting. This lead to the invention of the limelight. This device is created by directing a gas flame at a cylinder of calcium oxide. This invention was first used in London at the Covent Garden Theater. In the 1850’s, Joseph Swan, an English physicist, and chemist began working on a light bulb using carbonized paper filament in an evacuated glass bulb. This lightbulb had a low resistance and was not ideal for use in theater. Thomas Edison improved on Swan's design and created a high resistance lamp in a very high vacuum which could burn for hundreds of hours. The fluorescent lamp was created a little after the development of original light bulb. This is a gas-discharge lamp using electricity to excite mercury vapor. The excited mercury vapor produces a short-wave ultraviolet light that causes a phosphor to fluoresce, producing a visible light. Halogen lights are incandescent lights that use a tungsten filament sealed into a compact, transparent, quartz envelope. The envelope is filled with an inert gas and a small amount of halogen, which increases the life of the bulb. (Carver 270-279)<br />
===Conventional Fixtures===<br />
Conventional fixtures are non-moving lights usually hung off of a truss and batons. They are flown in and out to focus the lights on the stage so that performers and items can be spotlighted. <br><br />
All conventional fixtures have a lens, yoke, lamp housing, power cable, accessory holder, and a pipe clamp. At the front of each fixture is the accessory holder for gel frames and directly behind that is the lens holder. There are different types of lenses such as VSNP (very narrow spot), NSP (narrow spot), MFL (Medium Flood), and WFL (Wide Flood), which do as their names suggest. In the middle of a fixture is the yoke. This is used to angle the fixture to focus the light. At the end of the fixture are the lamp housing and the power cable. The housing allows you to change the lamp when it goes out. The cable allows you to connect the fixture to power. Some can even come with LED lamps. (Carver 280)<br />
<br />
====Beam Projector====<br />
{{Infobox<br />
|bodystyle = width:25em<br />
|image = [[File:Beam.JPG|110px|alt=Image ]]<br />
|label2 = '''Description'''<br />
|data2 = Beam Projector Effect (WIKI Commons)<br />
}} <br />
This fixture has an open face and produces a narrow beam of light by using two reflectors. The primary reflector is located in the back of the fixture and is a flat parabolic reflector. In the front of the lamp is the secondary reflector which is spherical and reflects the light from the lamp. Towards the back is the parabolic reflector. The parabolic reflector collects the light from the lamp into intense parallel beams of light. (Carver 280)<br />
<br />
====Scoop==== <br />
{{Infobox<br />
|bodystyle = width:25em<br />
|image = [[File:Scoop.jpg|130px|alt=Image ]]<br />
|label2 = '''Description'''<br />
|data2 = Scoop Fixture (WIKI Commons)<br />
}} <br />
These fixtures are open-faced units that have no lens. The housing for the light itself is ellipsoidal in shape and the inside of a scoop is painted white to reflect the light forward. There are few possibilities when focusing these lights because they can only pan or tilt. Some may joke that one may cook their act if they solely use these lights to light the stage. Scoops come in several sizes from 10 inches to 18 inches. (Carver 280-281)<br />
====Fresnel====<br />
{{Infobox<br />
|bodystyle = width:25em<br />
|image = [[File:Fresnel.JPG||140px|alt=Image ]]<br />
|label2 = '''Description'''<br />
|data2 = Fresnel Fixture (WIKI Commons)<br />
}} <br />
These lights are versatile because they can be used as a stage wash or to focus on a single character. Fresnel lights are soft-edged and have spherical reflectors in the back with sliders attached to the bottom to allow for easy focus. By adjusting the slider forward and backward the relationship of the reflector and the lamp to the lens is changed. Fresnels come in a wide range of sizes from 3 inches to 24 inches and are arguably one of the most used conventional fixtures. (Carver 281)<br />
====Source 4====<br />
{{Infobox<br />
|bodystyle = width:25em<br />
|image = [[File:S4.jpg|150px|alt=Image ]]<br />
|label2 = '''Description'''<br />
|data2 = Source 4 Fixture (WIKI Commons)<br />
}} <br />
The original name for this fixture is the ellipsoidal reflector spotlight or ERS. Many people also refer to it as a leko light, while some others call it a Source 4 because the is the most popular fixture from the ETC company. The Source 4 has an ellipsoid reflector and two lenses. This means the user can change the focus of the beam by changing the distance between the two lenses. Depending on the focus, the user can get a harder edge or softer edge. It is the most flexible and most used fixture in the industry. They also have rotational or stationary shutter barrels. By pushing the shutter into the fixture, the user can mask a portion of the light that comes through the fixture. The rotational shutter barrels allow users to shutter abnormal light angles. Exchangeable lens tubes that come in: 5°, 10°, 14°, 19°, 26°, 36°, 50°, 70°, and 90° can also be purchased. (Carver 281)<br />
====PAR====<br />
{{Infobox<br />
|bodystyle = width:25em<br />
|image = [[File:Para.jpg|150px|alt=Image ]]<br />
|label2 = '''Description'''<br />
|data2 = PAR Fixture (WIKI Commons)<br />
}} <br />
PAR is actually the name of the lamp that is in the fixture. It stands for parabolic aluminized reflector. The lamp and the reflector are sealed together with a lens which is then inserted into the back of a tube, or “can”, to help shape the beam of the light. Note: Some people call these fixtures PAR CAN. This fixture and the Source 4s are the two fixtures that use different lenses such as the VSNP, NSP, MFL, and WFL. Most PAR beams have an oval shape that can rotate to change the direction of each beam’s axis. Some of the newer versions allow you to separate the lamp from the lens, making them very similar to scoops. (Carver 281-282)<br />
====Strip Lights==== <br />
{{Infobox<br />
|bodystyle = width:25em<br />
|image = [[File:Strip.jpg|110px|alt=Image ]]<br />
|label2 = '''Description'''<br />
|data2 = Strip Light (WIKI Commons)<br />
}} <br />
These are large, bulky lights that usually remain in one place for multiple shows. They can have lights of multiple colors or just white lights. They are hung using C-clamps. Strip lights are used for general stage washes or to provide back lighting so the actors can see. (Carver 284)<br />
===Intelligent Fixtures===<br />
Intelligent fixtures are moving fixtures. They can also be hung off of a truss and batons or they can sit on stages and other flat surfaces. Their placement is important because they have a limited range of motion. Unlike conventional fixtures, intelligent fixtures require programming. They are addressed to the directory and is able to understand the user. They are more difficult to program than conventional lighting because they have more than one attribute per fixture that must be controlled. For concerts, these fixtures usually need a skilled live operator who knows what the performer is doing onstage and the cues for lighting changes. The most popular brand for these types of fixtures is Martin and the most popular fixtures are their MAC Auras, MAC 2000 profile/wash movie light and Seladore Desires.<br />
(Carver 285)<br />
===Controllers/Consoles===<br />
In order to raise and lower dimmable fixtures, users use control boxes called dimmers. Dimmer racks have patch bays where fixtures can be associated with a letter and a number to keep track of and control each light individually. A user may run DMX, digital multiplex, to run the lights off of a lighting console. <br><br />
Consoles take the patched lights and allow users to be able to control the lights as cues from shows. This process is tedious but adds so much depth. Imagine ''Defying Gravity'' without that beam of light that suddenly shows on Elphaba. The scene would have less impact without it. Cues are usually named after what scene and act they are in. Usually, a board operator is told when to play the cue by the stage manager via ClearComm. (Carver 288-289)<br />
===Accessories===<br />
GOBOs are different patterns that are cut out in metal and placed in a Source 4 using a GOBO holder. Shadows are cast by the GOBO to achieve the desired effect. Gels change the color of a light fixture without having to change the lamp bulb. They can be diffused with white and darkened with another color. A top hat helps reduce flare and cut out some excess light. Barn doors are placed in front of soft edge fixtures such as fresnels or PARs to block parts of light beams that spill into the border (Carver 289 291).<br />
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<br />
==Sound==<br />
===The Ancient Greeks===<br />
The Ancient Greeks are one of the first civilizations to create and build theaters for performances. Many theaters today use concepts and designs that were contrived by this group of people. The design of these theaters was quite simple, in fact, they were designed based on a circle. The diameter of a theater was often 80 feet in length, which is two times the size of most theaters today. In order for the sound of the actors to reach every one of the 12,000 people in the theater, the construction of the building had to be to specifically engineered for sound to travel up the stadium seating.<ref>Carver, Rita Kogler. Stagecraft Fundamentals Second Edition: A Guide And Reference For Theatrical Production. 2nd ed. Burlington, MA and Jordan Hill, Oxford, UK: Focal Press, 2012. Print.</ref> The first documented discussion of concerns about stadium acoustics versus view was brought about by the Roman Vitruvius in the first century BC. He presented the idea that a theater with acoustic dissonance, circumstance or resonance would be unsuitable for audiences and therefore actors. He proposed that careful attention must be made to the selection of the theater site and the type of performances that would occur there, whether they are acting or singing. It was Vitruvius who sparked the development of acoustics of Greek theaters, which spanned over two centuries.<br />
<br><br />
{{Infobox<br />
|title = Sound Ray Paths<br />
|bodystyle = width:25em<br />
|image = [[File:Reflect.jpg|320px|alt=Image ]]<br />
|data2 = Figure 1 ''Auditorium Acoustics And Architectural Design'' by Michael Barron <br />
|label2= '''Description'''<br />
}} <br />
After an extensive trial-and-error process, the Greeks created a theater design that optimized the sound quality and volume for all members of the audience. Sound propagation in a Greek theater was essential to increase the volume. Every member of the audience would receive direct sound based on three reflections of sound; the reflection from the front of the horizontal orchestra, the reflection from the front chorus on the rear half of the orchestra, and the reflection for the actors on the raised stage.<br />
<br />
Figure 1 illustrates the previously described reflection sequence. The reflection from the orchestra carries speech 40% further than without the modification. Greek theaters have the distinct feature of a steep seating rake, around 20 to 34 degrees. Although this is not confirmed, there is no doubt that the higher angles of incidence to the audience seating have a profound effect on the sound quality for the audience. Though these modifications aided in the increased volume of the actors, there had to be silence from the surrounding area of the theater and the audience for unassisted speech to be audible. This is why many theaters were located in urban locations.<ref>Barron, Michael. Auditorium Acoustics And Architectural Design. 1st ed. London: Spon Press/Taylor & Francis, 2010. Print.</ref><br><br />
{{Infobox<br />
|title = Mask Filter<br />
|bodystyle = width:25em<br />
|image = [[File:Polar2.JPG|320px|left|alt=Image ]]<br />
|data2 = Figure 2 ''The sound effect of ancient Greek theatrical masks '' by Fotios Kontomichos, Charalampos Papadakos, Eleftheria Georganti, John N. Mourjopoulos and Thanos Vovolis<br />
|label2= '''Description'''<br />
}} <br />
The most notable theater for its location is the isolated site of Epidaurus, which accommodated around 14,000 people and dates from around 350 BC. In the second century, this theater was considered the most perfect of all the Greek theaters. Seats at this theater reached distances of 70 meters from the front of the stage. How could sound reach the entire audience? The two factors that amplified the sound were masks and the theater design. With a distance that far, the actors used masks to act as a microphone to spread the sound of the actor's voice further. The masks, themselves, were constructed from hardened liquid stone and varied in design aspects such as whether they had open ears or an open mouth. Modern engineers have replicated these masks by creating mannequins that resembled the mask form and produced the type of sound that had come from these actors. The measurements they took produced a set of h<sub>θi</sub>(n) of discrete time impulse responses measured for different angle intervals with the mask on the mannequin. From there, the group was able to determine the corresponding magnetite frequency responses. The final results indicated that mask has the properties of an angle-dependent acoustic filter and the acoustic radiation of the actor's voice was significantly enhanced for the off-axis scenarios. <br />
<br><br />
Figure 2 is based on the measurements from the manikin and shows the polar patterns for the mask filter and the mask radiation for octave bands centered at 0.25,1,2,4 and 8 kHz.<br />
The acoustics of the theater of Epidaurus were flawlessly tuned for each performance. Any sound produced in the orchestra was reflected and scattered around the theater of the hard limestone surfaces and ultimately reached the audience's ears. The reflected energy reached the listeners with a very small delay of 40 milliseconds. At all positions of the theater the most significant frequencies of the male speech, with a pitch ranging from 125-140 Hz, first vocal harmonics, at 250-420 Hz, and formants, from 300 HZ to 3 KHz, were amplified while keeping the richness and color of each voice. Any sounds that were outside of those ranges were filtered out to avoid the early beginnings of feedback.<br />
In order to see the effects of theater's specific design and the use of the mask working together, engineers denoted h<sub>TIRθ<sub>jrj</sub></sub>(n) as the discrete-time impulse response of the "theater-filter" and measured it for azimuth angles θ<sub>j</sub> and distances of r<sub>j</sub>. This combined impulse response, CIR, was then denoted at h<sub>CIRθ<sub>ijrj</sub></sub>(n) The resulting formula is able to calculate the acoustic results in terms of gain.<br />
<ref>Kontomichos, Fotios et al. "The Sound Effect Of Ancient Greek Theatrical Masks". ICMC. Athens: N.p., 2014. Web. 6 June 2017.</ref><br />
[[File: Stage.JPG|x320px|left|thumb| Plane Measurement and Coordinates for Theater Source and Receiver Positions and Masks]]<br />
[[File: Mask.JPG|x320px|right|thumb| Schematic diagram ]]<br />
<br clear=all><br />
===21st Century Sound Systems===<br />
{{Infobox<br />
|bodystyle = width:25em<br />
|image = [[File:Soundsystem.png|320px|alt=Image ]]<br />
|label2 = '''Description'''<br />
|data2 = Sound System Diagram (WIKI Commons)<br />
}} <br />
Since the time of the Greeks, technology has evolved and become more advanced. The invention of electricity has played a key role in increasing the volume and quality of the actor's vocals. Acoustics refers to the sound quality of a room in reference to the overall audio quality without any sound amplification devices such as microphones and speakers. When creating a theater, the ambient noise that is surrounding the building or room when there is no planned audio must be considered. The Greeks dealt with this by having their theaters located in the middle of nowhere, but in today’s times, that would be utterly useless and unfeasible. Who would want to go to a play or musical in the Sahara Desert? That is why today many theaters pad their walls and make sure the stage is covered by a sound-absorbing curtain, which also doubles as an object to hide the cast until ready. Modern actors may not have learned the proper way to project their voice so that the audience in the back can hear. Modern-day sound systems have let actors and actresses become more lenient with projecting their voices because, with the adjustment of a gain knob and the increase of a slider, their volume is magically louder. Along with the actors and actresses on stage, there are orchestra reinforcements to add to the mood of a performance. However, there is a delicate balance between the actors and actresses and the orchestra because louder does not mean better. It is important to know the difference between amplification and reinforcement or the show could go horribly wrong. Amplifying denotes that the volume of an actor, actress or instrumentalist is increasing. Reinforcement is all about moving sound to create the perfect environment which requires a subtle touch. Amplification is noticeable whereas reinforcement shouldn’t be. Today's sound engineer must also account for the sound of background noise created newer technologies such as HVAC systems<br> (Carver 364)<br />
====PA Systems or Sound Systems====<br />
For a basic sound system, there are three main areas: input, output, and processing. Inputs are quite simple. They are the microphones that are connected via wires or wirelessly to a mixing console. The mixing console takes those inputs and can make pre-amplification changes on the microphone level signals to line levels. The signal then goes through equalization. Different filters can be applied to each microphone. This is helpful for equalizing different voices such as a female voice versus a male voice. Low pass filters are used on male voices so that any noise that comes through the microphone outside of the specified frequency is negated. Similarly, a high pass filter is used for female vocals. Level control is then used to process the signal and send it to the output. The output of a console is an amplifier, most commonly a speaker. The speaker converts the signal that is received into sound waves that people can hear and hopefully enjoy. Sound equipment has many variations. Inputs can include microphones (wireless, lavier, wired, wireless mic packs), contact pickups, magnetic pickups, laser pickups and optical pickups. Signal processors can include reverberation, delays, and amplifiers. Outputs can be loudspeakers (subwoofers, woofers, midrange, and tweeters) and headphones. The most important part is choosing the right equipment for the right show and location as well as speaker placement. For example, subs and heavy bass would not typically be used for a ballet. (Carver 366-367)<br />
====Microphones====<br />
{{Infobox<br />
|bodystyle = width:25em<br />
|image = [[File:Mic.JPG|320px|alt=Image ]]<br />
|label2 = '''Description'''<br />
|data2 = Different Types of Mics (WIKI Commons)<br />
}} <br />
The most basic function of a microphone is to pick up the sound and convert that acoustic sound to electrical energy. There are two main groups of microphones, dynamics, and condensers. Dynamic microphones are versatile, reliable, durable and, most importantly, affordable. The SM57 and SM58 are able to handle anything that life throws at it. The SM58 is used widely as a microphone for vocalists and is most notably identified by its ball grille. The SM57 is more for instrumentalists and can have a windscreen for heavy wind or breathing. Both the SM58 and SM57 are very similar in design and range and can be used interchangeably. Condenser microphones are more likely to be seen in theaters because they have an extremely versatile range. These microphones are quite special because they need 48-volt phantom power. On most mixers, the sound person must switch on phantom power to the assigned microphone. There are various styles of microphones because a handheld mic may not appeal to everyone. A lav or lavalier mic is very small and can be placed on a person’s shirt or in a person’s wig/hairline. Contact pickups are similar to microphones and are attached to instruments to pick up the sound through its vibrations. Pressure-response microphones are also used for instruments. They are mounted on a flat surface with an attached plate that increases gain.<br />
<br><br />
Impedance of a microphone refers to the amount of resistance a microphone has to an audio signal. The lower the impedance, the less issues a microphone may have when using a longer cable and dealing with noise interference. Typically a lower impedance means a better-quality microphone, therefore a perfect choice for theater.<br />
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Gain deals with the amplification of a microphone through a sound system. If set up properly, meaning the system, microphones, and speakers, gain can be maximized. Handheld microphones have more latitude when it comes to gain versus its wireless counterpart. However, as the technology has gotten better, lavalier microphones have gotten smaller and better, but at a very high financial cost. Lav mics can be seen almost everywhere such as in theaters and on television news shows. The loop is sized for the person’s ear and a piece of tape is placed on their cheekbone and behind their ear. The pack is the hidden in the shirt making sure the person has enough neck room to not pull the mic off. <br />
<br><br />
Area micing is a technique used for large bands or choirs. An array of floor microphones is placed on the ground and the board operator increases or decreases the gain as needed. For this, it is better to use an odd number of microphones which will provide the most options of which microphones to use at any given time. (Carver 364-368)<br />
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====Mixing Consoles====<br />
{{Infobox<br />
|bodystyle = width:25em<br />
|image = [[File:Mix.jpg|320px|alt=Image ]]<br />
|label2 = '''Description'''<br />
|data2 = Digital Mixing Console (WIKI Commons)<br />
}} <br />
All consoles work on the same concept. They take inputs, process the signal via equalizing, delays and reverberation, and transfer the audio to outputs. Each console is different with a given number of inputs and outputs as well as limits to the types of adjustments one may make to the audio signal. There are two types of consoles, analog and digital. Analog boards come in a range of sizes. Examples include the Mackie 1402VLZ4 14-Channel Compact Mixer and the GL4000. The drawback of these boards is that there are no equalizers, delays, or special effects, which are available on digital boards. Digital boards are the newest in sound engineering technology and are continually being developed. Digital consoles can be more flexible. Some digital boards have mobile device applications that allow a person to control the board from the stage instead of from front of house making equalizing easier and faster. (Carver 370)<br />
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====Speakers and Headsets====<br />
There are four types of speakers: tweeters, midrange, woofers, and subwoofers. Tweeters are meant for producing sound in the high-frequency range. Midrange speakers are designed to reproduce sound at midrange frequencies. Woofers are for low frequencies and subwoofers are to produce sounds at very low frequencies. Subwoofers are usually the speakers that make the floor shake at a dance party. Line arrays are groups of speakers that are hung vertically or horizontally. They have a very narrow spread of sound per speaker. Wedges or monitors are used by most musicians and vocalists so they can hear themselves throughout the performance. Selected sounds are mixed through the soundboards and then output through each wedge. Positioning the speakers is key because some speakers only have 90-degree dispersion. <ref>Mellor, N. (2017). Speaker Off Axis: Dispersion Specifications and Off-Axis Response Plots - Acoustic Frontiers. Acoustic Frontiers. Retrieved 18 June 2017, from http://www.acousticfrontiers.com/dispersion-specifications-and-off-axis-response-plots/</ref>The best positioning for these speakers is in pairs facing the corners of the space diagonal to them. <br />
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Headsets are used for stage managers and other run crew to know what is going on. They allow communication between the groups. Different groups can be on different channels like handheld radios. Clear-com is the most popular and is easily setup using XLR to the control box. It comes in wired and wireless versions. (Carver 371-377)<br />
<ref>Carver, Rita Kogler. Stagecraft Fundamentals. 1st ed. Boston: Focal, 2009. Print.</ref><br />
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==Costumes==<br />
=== History and Method ===<br />
Costumes are very important in transforming an actor into the character they are playing. Costumes are also used to set the scene of the play. For example, Victorian Era costumes will make the show appear to be set in the Victorian Era. Costumes have been used since the ancient Greeks and Romans. Greek theater was a sacred place and often sacrifices were made on the altar in the center of the stage before the show. A show would take place once a year on a day of celebration of the god worshiped in the temple. According to the Greek culture, the god would be present the whole day of the show and the performance was considered a sacred duty which was paid for by the wealthy. In order to act in the play, the actors had to be totally pure for they were channeling their character. Actors would use a staff and wear a wreath to convey this. The actors would wear red ornamental cloaks and stone masks that belonged to the treasure or the sanctuary, these were early [[Theater in London#Props| props]] (Stricker, 1955) (Bieber, 1971)<ref> Stricker, B. (1955). The Origin of the Greek Theatre. The Journal of Egyptian Archaeology,41, 34-47. doi:10.2307/3855235</ref>. <ref>Bieber, M. (1971). The History of the Greek and Roman theater. Princeton: Princeton University Press. </ref> Not only did the actors have to be in a state of purity, only the clean and pure public could attend this performance. They too would wear decorative cloaks and wreaths to celebrate the sacred day. Costumes were very important to conveying the story due to the fact that it would reveal the gender and social status of the character. Costumes in the Roman theater overlapped quite a bit int that a cloak’s color denoted the status and sex or the character. They also wore masks. During the Elizabethan Era, clothing played a significant part to one's status in society. There were many laws dictating what a person could wear, so many plays had their actors wear clothes of the vernacular for the character. Therefore, the actors of queens and kings wore costumes that reflected that status and those of less important roles wore their own clothing. For plays that took place during the Roman and ancient Greek eras, actors wore togas over their normal clothes. Since costumes were very expensive, many companies reused old costumes (Costumes and Cosmetics, 2013, p. 1) . <ref> Costumes and Cosmetics. (2013) (1st ed.). London. Retrieved from https://www.shakespearesglobe.com/uploads/files/2014/01/costumes_cosmetics.pdf</ref><br> <br><br />
[[File: times-square-1457783_640.jpg|x250px|right|frameless|thumb| Major NY Shows]]<br />
Today costumes are designed by costume designers, who work closely with the director to make the director’s vision come to fruition. They often need to do a lot of research into who the character is and what time period he or she comes from. This research creates an authenticity to the character. A character wearing a crop top and a pair of short shorts would not be taken for women of status in the Victorian Era. The costume creates the character and that costume is iconic. Who would Glinda from "Wicked" be without her extravagant happy dresses? The costumes are more than just the clothing the actors are wearing. They include the shoes and accessories that are paired with the outfit. Costumes are meant to be used as an extension of the actor, which means that if two characters are polar opposites, their outfits will be totally different. It adds to the depth of the character. The costume designer then creates sketches of their proposed idea to share with the director. These costumes are then either approved or sent back with critiques. After the costume designs are approved, there is a lot of work to be done (Nusim, 2017) (Landis, 2014). <ref> Nusim, R. (2017). Character by Design (1st ed.). ACADEMY OF MOTION PICTURE ARTS AND SCIENCES. Retrieved from https://www.oscars.org/sites/oscars/files/costumes_and_makeup_activites_guide.pdf </ref><ref> Landis, D. (2014). COSTUME DESIGN DEFINING CHARACTER (1st ed.). The Oscars. Retrieved from https://www.oscars.org/sites/oscars/files/teachersguide-costumedesign-2015.pdf</ref><br />
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===Fabrics===<br />
[[File: towel-1838210_640.jpg|x250px|right|frameless|thumb| Different Fabrics]]<br />
Costumes come in many different shapes, sizes, and fabrics. This is one of the first things a designer has to think about when designing a costume. The material can affect the character’s movement, the actor’s comfort, the time period, and so much more. Fabric choice comes with much consideration and it is very difficult to choose with so many different fabric choices. One of the first fabrics of choice is wool. It is a fabric known for its warmth and itchiness, which is made from a variety of sheep furs. Even though many find wool to be itchy, wool comes in a variety of different types and not all of them are itchy. The fabric is very spongy and an insulator, but the reason many like wool is its ability to absorb up to 30 percent of its weight in water and not feel wet. Along with its water holding ability, wool is also dirt, tear, and flame resistant. This fabric may be worn by a character who is a sheep farmer in Ireland. Another natural and widely used fabric is cotton. It is a light, cool, and soft material that is used often. Cotton comes from the cotton plant and is stronger wet than dry. It can withstand high temperatures and is more breathable than wool. Silk is another fabric used in theater. It is a natural fiber that is spun by silkworms and is considered a fabric of wealth and success. Silk absorbs moisture in the summer and is warm in the winter, which makes it perfect to wear on stage. Due to its ability to retain moisture, silk is easily dyed and shapes well to a person’s body. Linen, not to be confused with cotton, is another widely used fabric. It is produced from the fiber of the flax stalk and is two to three times stronger than cotton. Linen has a unique luster that comes from its inherent nature and is easily dyed. Other fabrics that are synthetic and likewise also cheaper include polyester, rayon, acetate, and nylon. They have many of the same characteristics of natural fabrics, but they are less natural and prone to wrinkle, stain, and shrinkage (Caver, 2012, p. 306- 309).<ref>Carver, Rita Kogler. Stagecraft Fundamentals Second Edition: A Guide And Reference For Theatrical Production. 2nd ed. Burlington, MA and Jordan Hill, Oxford, UK: Focal Press, 2012. Print. </ref><br />
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===Tools, Accessories, and Sewing === <br />
Once the fabric of the costume is chosen, the fabric(s) has to be put together by sewing or other methods. In order for the fabric to be transformed into a costume, the seamstress must be familiar with the tools necessary to create a costume. Tools such as measuring tapes and patterns assist the costume designers to accurately take the measurements of the actor or actress. Once the measurements for the garment are determined, the designer will start working with either a pre-existing pattern or creating a pattern from scratch. A pattern is a template on which a garment can be cut from to form the specific shape desired. They are often made of paper and traced onto the fabric. To create new patterns, patterns may be combined or a sloper tool can be used. Sloper tools provide generic shapes that can be modified to form a new pattern. After a pattern is created, it is pinned to the fabric and then cut by sewing scissors. These scissors can cut fabrics fast with their adjustability and are therefore more expensive than arts and craft scissors. The next step of the process is sewing the pieces together, which can be done with different types of thread that have as great a range as fabrics do. The chosen thread needs to have similar properties to the fabric. To make the costumes unique and complete, accessories such as belts, buttons, and zippers are added. They can change a one-dimensional costume into one fit for a king or queen, but these accessories must be kept organized in order for them to be found in a timely fashion. Some other important tools are seam rippers, which can cut a seam when a stitch needs to be undone without damaging the fabric, and tailor’s chalk, which is used make marks on fabric. (Caver, 2012, p. 309- 317). Finally, after all of these steps have been completed, the fabric can be sewn together to create the costume. Most costumes are sewn by sewing machines, with intricate details sewn by hand. Some of the stitches sewn are quite easy, however many are difficult and require much skill. One commonly used stitch is the overlocking stitch. It is used to combine two edges of the fabric to create a hem on the inside that appears seamless when flipped inside out. The overlocking stitch is considered to be very versatile with it being used for everything from decoration to reinforcement to the construction of a fabric. Once the costumes are completely sewn they are then fit to the actor or actress to ensure a total fit. Interestingly, more complex costumes are initially made of muslin, a very inexpensive fabric, and are fitted to the actor so that the exact measurements can be used during the construction of the real costume. The creation of a costume is a multifaceted process that takes a design from paper to real life. It is difficult, but costumes are essential to a show for they aid the viewer in imagining and fitting the actors or actresses into the roles they play (Caver, 2012, p. 323- 334) <ref> Carver, Rita Kogler. Stagecraft Fundamentals Second Edition: A Guide And Reference For Theatrical Production. 2nd ed. Burlington, MA and Jordan Hill, Oxford, UK: Focal Press, 2012. Print.</ref>.<br />
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===Types=== <br />
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Costumes have come a long way from dresses, togas, and suits. As culture has invited new and exciting shows to the theater, costumes have had to change with the culture. Today’s theater productions have definitely proven to be a challenge for costume designers. There is now a myriad of shows of different time periods, themes, and ethnicities, which can be seen by the 2017 Tony nominees and shows that are currently popular. A prime example would be the Tony-winning "Natasha, Pierre & The Great Comet of 1812", which is an excerpt from Leo Tolstoy’s "War and Peace" about the affair of Natasha with Anatole and Pierre’s existential search for meaning <ref> S. (n.d.). The Great Comet - Official Broadway Site. Retrieved June 13, 2017, from http://greatcometbroadway.com/</ref>. Natasha is a charismatic young Russian woman of status engaged to marry her beloved fiancé Andrey, but while he is away at war she is sent to live with a godmother where she is seduced by an unknowingly married man. Natasha’s costume is white for innocence and is fitting of women of status in Russian during the early 1900’s. All of the costumes are a mixture of timepieces with modern clothing. This can add the idea that "War and Peace" is not just a very long novel with little to do with society today. Natasha’s story is a timeless tale of love, lies, and scandal, so the costumes must accent the characteristics of the characters and make them believable. Another Tony Award-winning show that has a completely different costume design is "The Lion King". "The Lion King" is a very different show about finding one's identity and is loosely based on Hamlet. This is a very difficult show to design for because the characters are animals. It is very hard to mimic the movement of an animal, so the designers worked to make costumes move with the movement of the actors and dancers. They utilized both masks and puppetry to create the movement of many of the animals. Timon and Pumbaa are life-size puppets that are connected to the actors. These shows show the great range of costumes that exist today in theater and the different styles and techniques used. <br />
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===Current Practices===<br />
Tours of the [[National Theater]], [[Royal Opera House]], and Royal Shakespeare Company gave insight into how costumes are currently dealt with. The trend is that the costumes department is divided into sub-departments. These subdepartments take care of creating the costumes, caring for the costumes during their show's run and managing them after the show has finished. During a production, the costumes must be cleaned after performances to keep them in good condition for the actors. This is especially important when a costume is dirtied during the performance. If the character gets a blood stain during the show, it cannot be there at the start of the next performance. In addition, any damage such as a tear in a costume must be repaired. After a show, the costumes are typically labeled with the name of the show they were from, the actor who wore it and the character they played. These costumes are organized and stored in the theater company's costume shop. The costumes can be rented by theater companies, film companies such as the BBC and sometimes the public for use. This enables more money to be earned back from the costs of the show. The Royal Shakespeare Company occasionally has auctions that are open to the public where the costumes are sold off for under £75.<br />
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== Hair and Makeup==<br />
===History and Design ===<br />
Makeup was not used in Greek and Roman theater due to the fact that the masks that they wore were designed to portray the emotions and character traits the characters had. (ref) It was not until the time of Queen Elizabeth that makeup was frequently used. The makeup of the actors was very important due to the fact that not only did it create the character, it also disguised their identity as a man. The actors were painted with white face makeup that sometimes consisted of a mixture of vinegar and white lead, “ceruse”, which was highly poisonous. The white was important because it represented the faces of the rich and royal due to the fact that they did not have to go outside to work. The standard for beauty was a pale white complexion, bright red cheeks and lips, kohl lined eyes, and a blond wig. This would usually be put on a young boy when he was transformed into the character of a beautiful young woman. To make characters shimmer, like characters in Shakespeare’s “A Midsummer Night’s Dream”, crushed pearls and silver would be applied to their makeup (Costumes and Cosmetics, 2013, p. 2) <ref> Costumes and Cosmetics. (2017) (1st ed.). London. Retrieved from https://www.shakespearesglobe.com/uploads/files/2014/01/costumes_cosmetics.pdf </ref>. Modern stage makeup did not really appear until the 1920’s and 1930’s and was started by Max Factor. Max Factor was the person who coined the term makeup and his son was credited with many innovations in makeup. They started the lip gloss, cake makeup, pan-stick makeup, the original cover-up makeup, and the first waterproof makeup (Carver, 2012, p. 339) <ref> Carver, Rita Kogler. Stagecraft Fundamentals Second Edition: A Guide And Reference For Theatrical Production. 2nd ed. Burlington, MA and Jordan Hill, Oxford, UK: Focal Press, 2012. Print. </ref>. Today stage makeup is created by many companies and comes in a variety of different shapes and sizes. They are used in a myriad of different techniques to achieve looks that portray different time periods, people and in some cases animals. The makeup signifies the character’s health, age, and liveliness and also adds to his or her illusion. Together the costume designer and hair and makeup designer work together to flush out and create a cohesive look for the character they are creating. With enough makeup, one can create themselves into a person they are not. An actor can be given an older, younger, sicker, healthier, prettier, plainer, or clearer look. People tend to go heavier on makeup when doing stage makeup than everyday makeup due to the fact that stage lights wash out a normal skin color making it much lighter (almost sheet white). This makes it hard for viewers at a distance to see the fine details of the makeup. To have an effective makeup design, the makeup must project the character to the audience (Gillette, 1999, p. 432-434) <ref> Gillette, J. M. (1999). Theatrical design and production: an introduction to scene design and construction, lighting, sound, costume, and makeup. New York, NY: McGraw-Hill. </ref> <br><br />
When designing makeup, one must keep in mind that they are changing the actor into the character. They have to do a great deal of research to get the character right because it is easy to spot what character is out of place. It was said by Richard Corson that the “makeup suggests genetics, environment, health, disfigurements, fashion, age and personality” (Gillette, 1999, p. 432) of the character. Therefore, it is important to accurately represent the character through their makeup. Makeup can also indicate if a person has been exposed to the elements based on the skin’s color and texture. One can also see if the character has deformities, both accidentally and genetically, which add to the personality of the character quite a bit. A rule of thumb for eccentric makeup is that if the character is eccentric then make it eccentric, if not then stick to the time period. When creating characters of different ages, younger skin tends to have better color with a firmer feel and older skin has a looser feel with less color and more wrinkles. The personality of a character is also portrayed in the makeup with a happier person having smile lines and a grumpier person having a perpetual frown. These are all good things to keep in mind when doing the makeup design and aid in achieving the look that is trying to be accomplished (Gillette, 1999, p. 432-434). <br><br><br />
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===Facial shapes===<br />
Facial shapes have great importance when doing makeup due to the fact that faces are always balanced. Therefore, the makeup must be balanced with the face as well. Faces come in in six different classes of shapes, which are pear, oval, heart, long, round, and square. Depending on one’s facial shape, makeup should be applied differently to highlight its features. Oval faces are considered to be perfectly symmetrical due to the fact that it is wide at the cheekbones and slopes down to a more pointed chin. The heart shaped face is much more different due to the fact that the top of the face is more rounded and then it has a more pointed or triangle shaped chin. It is also known as a triangle face shape. A pear-shaped face is much like a pear. It has a smaller forehead with a gradually larger face down to a wide chin. The square facial shape is the most common face shape. It has more of an oblong shape until the chin, where it’s more like a tilted right angle. A round face shape is very similar to an upside down pear shape face, but the chin is more rounded. The last face shape is the long face shape which is like an elongated oval face shape with higher cheekbones. The face shapes of the actors are necessary for a makeup designer to know when designing a character's makeup as it determines what parts of the face gets highlighted or shadowed. It‘s also important to know other faces when changing a person’s face shape to fit a character (Carver, 2012, p. 340). <ref> Carver, Rita Kogler. Stagecraft Fundamentals Second Edition: A Guide And Reference For Theatrical Production. 2nd ed. Burlington, MA and Jordan Hill, Oxford, UK: Focal Press, 2012. Print. </ref>. <br> [[File: face.JPG|x250px|center|frameless|thumb| |caption = Various Face Shapes (Carver, 2012, p.340 FIG.13.1)]] Various Face Shapes (Carver, 2012, p.340 FIG.13.1) <br><br><br />
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===Tools=== <br />
Makeup tools are very important to creating a character’s look due to the fact that they are what is used to transform the actor's face into the character's face. Makeup artists utilize brushes of different sizes, shapes, thicknesses, and styles. They all have a purpose and a designer will have many. Flat brushes are very good for blending colors together due to the fact it gives you a great amount of control when adding and removing pigment. An angle brush is really important for doing eye shadows and precise lines near or around the eye. Dome brushes are really good for blending and applying concealer under a person’s eyes whereas round brushes are good for eyeshadow and brows. There are detail brushes and powder brushes which add small details and blend well. Foundation brushes are used to apply and smooth foundation, which covers the majority of the face. The last brush to be covered is the contour brush. This brush is used to highlight and shadow the face so the person looks like they have higher cheek bones. It is also used to reconstruct the face to the right face shape. It is apparent that there are many brushes with different purposes and different artists have different uses for any given brush. They are all correct though! People have different uses for different brushes. Brushes are not the only tool that makeup artists use. Artists use spatulas to apply scar wax and thicker products, which is mixed with a plastic palette. A powder puff is usually used to apply powder or blot. Different types of sponges are used to blend and apply crème makeup. As a rule of thumb, the more porous the sponge the more texture is going to be applied to the skin. These are just some of the tools makeup artists use and there is much more to explore. (Carver, 2012, p. 341- 343) <ref> Carver, Rita Kogler. Stagecraft Fundamentals Second Edition: A Guide And Reference For Theatrical Production. 2nd ed. Burlington, MA and Jordan Hill, Oxford, UK: Focal Press, 2012. Print. </ref>. <br><br><br />
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=== Types of Makeup===<br />
====Cake Makeup==== <br />
This is the most commonly used type of makeup and it comes in both dry and moist compacts of pigment. They come in a variety of colors and shades matching every skin color. Cake makeup additionally comes in a variety of highlights and shadows to contour the actor’s face. To apply this makeup, artists moisten a makeup sponge or brush and then wipe it across the cake. It is then applied to the face. However, if the sponge is not wet enough the makeup won’t apply. If the sponge is too wet, the makeup will be too opaque. An actor should have a clean face when this is being applied. Usually, the highlights and shadow are applied over the foundation, but to get a more muted effect it can be placed under the foundation. Cake makeup does not need setting powder to prevent the makeup from smudging and sweating off (Gillette, 1999, p. 436-437). <br><br />
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==== Crème Makeup====<br />
Crème makeup is a non-greasy makeup that is often applied with a sponge, brush, or fingers. Unlike cake makeup, crème makeup does not require a damp tool. It can be used with cake makeup, but it does require setting powder. For easier usage, this makeup comes in sticks and crayons (Gillette, 1999, p. 437-438).<br><br />
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==== Liquid Makeup ====<br />
This makeup is not usually used for the face, but for the body. The use of a name brand theater makeup is not necessary because store bought types work just as well. One drawback of this makeup is that it dries more quickly than other makeups, which makes it difficult to blend when more than one color is used (Gillette, 1999, p. 439). <br><br />
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==== Dry Makeup ==== <br />
Dry makeup is classified as makeup that is dry when applied. This makeup is not usually used as a standalone makeup. It is usually used in conjunction with greasepaint and cake makeup. A common dry makeup is face powder, which is used to set a face. Though, if in a pinch, it can be used as a quick foundation. Any excess is dusted off with a fluffy brush (Gillette, 1999, p. 439). <br><br />
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==== Greasepaint ====<br />
Greasepaint was the first form of makeup before good quality crème and cake makeups were created. It was originally the most commonly used face makeup. It is quite translucent and available in a multitude of colors. It is applied with the fingertips and stippled to create a multidimensional layered effect, however, each layer needs to be set with setting powder. It clogs the pores and makes the person sweat even more than normal when under the bright lights of a stage (Gillette, 1999, p. 439). <br />
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<gallery mode="packed"><br />
Image:makeup-brush-1746322_640.jpg|''Brushes''<br />
Image:creme.JPG|'' Ben Nye crème foundations (Carver, 2012, p.340 FIG.13.9)''<br />
Image:cosmetics-259181_640.jpg|''Highlighter and Brushes''<br />
</gallery><br />
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===Application technique===<br />
==== Highlights and shadowing====<br />
To create a multidimensional look, makeup artists take advantage of shadowing and highlights. They are used to make a person look older, younger, sicker, or healthier. Contrasting colors, such as brown and bright ivory, are used to draw attention to one part of the face while reducing attention on another part. One can create harsh angles by making harsh lines and smooth harsh lines by blending lighter colors (Gillette, 1999, p. 440-441). <br><br />
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==== Stippling ====<br />
Stippling is the act of dabbing or patting makeup rather than stroking it on the face. It is often done using a brush or sponge and it roughens the texture of the skin. The appearance of larger pores are produced by a larger pored sponge and can also be used to create the look of acne. To create a more natural look two or more colors are stippled together. If a shadow or highlight is too heavy it can be stippled with a base to create a natural look (Gillette, 1999, p. 442). <br />
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{{Infobox<br />
|title = Power of Makeup<br />
|bodystyle = width:20em<br />
|image = [[File:nvo.JPG|x450px|alt=Milestone Image]]<br />
|label1= Thanks to<br />
|data1= [[User:Nbloniarz|Natalie Bloniarz]]<br />
}}<br />
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===Special Makeup ===<br />
Sometimes an actor does not have the same exact features of the character they are playing. When this is the case, products such as nose putty, derma wax, latex, and prosthetics are used to modify the actor's features and achieve the character's appearance. Not everyone has a crooked nose or a facial scar so makeup artists must get creative when a character does have an irregular feature. Nose putty is used to give a different shape to the actor’s nose, chin, or other inflexible facial feature. The putty is shaped onto the face of the actor and is glued onto the skin with spirit gum to create more security. It is then painted with makeup to match the skin tone and stippled to give texture. Derma wax is similar to nose putty but is does not adhere as well so spirit gum is absolutely necessary for adhesion to the face. It is more easily molded and adding cotton adds to its structure. It is painted similarly to nose putty. Latex is one of the more used special effects because it can be used to make bald caps, eyebrow masks, and wrinkles. However, the drawbacks of latex include that it is difficult to remove and, if applied to hair, the hair must be shaved off and people can be allergic to latex. Latex does create a nice smooth layer that can be built up with makeup though. When creating these parts are too much, prosthetic noses, chins, and others pre-made features can be purchased. They are sometimes needed to complete the look (Gillette, 1999, p. 443-50). <br><br><br />
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===Hair=== <br />
Hair styling finishes off a character's appearance. Often use wigs are used to achieve the character's hair, but sometimes the actor’s actual hair is styled too. The hair style must match the style and length of the time period to create a believable and authentic character. The hair can be dyed, curled or braided to match the time period. If the character is a flapper from the 1920’s then she would have a bobbed hairstyle and a man of the same time would have a slicked back middle part. It takes a lot of research and time to create the perfect look for the character’s hair. <br><br><br />
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==Poster & Promotion==<br />
Theater advertising is an often neglected area of study but critical to putting on a show. After all, there is no show without an audience to see it. The promotional methods were influenced by the technology of the time. During the Middle Ages, the most effective advertising was word of mouth. The performers and town criers would announce performances to the town. Additionally, the sound of drums and trumpets were used to indicate a performance. Descriptions of the show were also written out, given to people and attached to posts in the town. This led to the name poster. At the time of early theater in London, printers started to be given licenses to print playbills or posters for shows. These were handed out to people. In addition, there would be a drum procession through town and a flag raised at the theater to indicate a show. Just before a performance, a trumpet would sound three times. As printing technologies improved over time, so did the posters. Actors also started to expect their names to appear on these posters. Circuses led a new development for these posters. They introduced using illustrations as it was a natural way to promote with all the animals present. Introducing images to posters created new appeal and draw for those who were illiterate. The next advancement was the introduction of color to the illustrations. The posters became an art form. They started creating larger advertisements created by printing the design across many pages and posting them all up together in the proper configuration, like a puzzle. Posters grew so important that stock posters were developed for popular shows. The quality of the posters improved as the technology did but experienced little improvement during the World Wars. The Pop Art movement brought life back to the posters. Advertisers started bringing in television stars to create more draw. Posters would feature iconic images that could also be used for marketing. While posters are not as important as they once were, they are still a key part of advertising for performances. <ref>Theatre posters. Retrieved from http://www.vam.ac.uk/content/articles/t/theatre-posters/</ref> Walking around London, posters for the current shows are hung everywhere. They line the underground stations. The West End also serves as its own advertising. Walking through the area, the buildings are plastered with billboards and posters displaying what is showing. There is also a free guide that is distributed called the Official London Theatre Guide which began in 1922. It contains information on all of the upcoming shows as well as theater and tourist information. E-marketing is also important. Online advertisements can create a draw. Subscribers may receive notification emails about shows and offers as well as an e-newsletter. After all this time though, word of mouth still remains powerful. The hype created for shows such as "Wicked", "The Lion King", and especially "Hamilton" right now, draw in audiences and create high demand for shows.<br />
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=Section 2: Our interpretation of The Play that Goes Wrong =<br />
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''The Play that Goes Wrong'' is a hilarious play that follows a production group attempting to put on a play called ''Murder at Haversham Manor'', a 1920's murder mystery. However, Cornley Polytechnic Drama, the group putting on the murder mystery, has had a difficult time with prior shows, so the expectations are set pretty low for the play they are producing now. Due to the fact that this a play inside of a play the stage tech are seen scrambling to fix things and become part of the actors. The stage tech also interacts with the audience the whole time giving the feeling that you are watching the ''Murder at Haversham Manor'' and all of the mess ups that an unprofessional and accident prone theater may face. For our deliverable, we explored the scenic, lighting, sound, costume, makeup, and promotional aspects that went into the performance we saw on "The Play That Goes Wrong" and created our own interpretations of how to put on the show in regards to each department. These interpretations are largely based on what we saw at the performance, what worked and what we felt could be improved as well as the research we did in our background.<br />
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==Scenic==<br />
[[File:Stage Right- sm- JR.JPG|thumb|right|x500px]]<br />
Designing the set for "The Play That Goes Wrong" is a unique process because it is a play within a play. As the designer for "A Play That Goes Wrong" the overall set design must be considered. However, the show is a performance of an amateur theater company attempting to perform a show. Therefore, to establish the set on the visual level, the designer must act as the designer for that company. The set must be designed to look like it was designed for the murder mystery show. Furthermore, it must reflect the styles and resources of the amateur theater group. Therefore, the set would appear to be low budget and not a refined, high quality. For this part of the design, I am basing the set on the board game Clue as it is a classic example of a murder mystery that many people can recognize. Once the basic visual design of the set is established based on the murder mystery play, design considerations for "The Play That Goes Wrong" must be looked at. This includes all of the special effects that are used to make it look like the murder mystery play is going terribly wrong. The most important tool we will be using is electromagnets. Throughout the show, the set literally falls apart. Wall hangings fall down, the second story floor collapses and the walls themselves fall down. We plan to achieve these effects through the use of electromagnets that can be turned on and off. When, for example, a wall decoration should be hanging, the magnet will be turned on. When it is time for the decoration to fall, the magnet can simply be turned off. This enables simple, on-demand control of the set failures. From a booth, the magnets can be switched on and off and perhaps even integrated into the cue system. When the second story floor collapses, the fall is controlled by mechanics behind the set. The platform is supported by cantilevered beams. Backstage, these beams are held up in a system that lets them pivot and lock into place in several positions. The beams begin the show horizontal. When the floor first fails, the position can be released, and drop in a controlled manner through the use of a motor, into the next position it can lock into. This can be repeated as the platform continues to fall. In addition, the show makes use of a bit of pyrotechnics when the garbage bin catches fire. This would be the responsibility of specialists as fire is a safety hazard.<br><br />
Actually designing the set in Solidworks proved to be a good lesson in the difficulties of set design. In the model, it becomes very apparent how tricky it is to make sure every seat has a good view of the set. The proscenium arch itself quickly blocks out the view of the audience as they start to move off to either side. This requires the set to be further forward on the stage to improve visibility. Secondly, designing the side walls of the room quickly turned into an issue. In order to improve visibility, I turned the left wall out towards the audience. Instead of a 90 degree with the back wall, it is at an 118-degree angle. However, I realized the same could not be done with the other wall. This is because the floor of the second level has to be able to swing down but, if it is made with an angle greater than 90 degrees, it will not have clearance on the side. In addition, the same problem of visibility would occur that I sought to eliminate on the other side. That is also ignoring the fact that having one side turned out but not the other would create a very oddly shaped room. It is at this point that I revisited the original set. My set had already been based on it a bit, as the story line and set were closely related meaning that the set couldn't be changed too much and still have the lines and action work. The set pieces had to be able to fail certain ways in order to fit with the story. When I looked at the set again I realized how the designer played with perspective. The back wall was actually split into sections that enabled them to bend it so each side wall could be angled out without the back wall seeming warped. Therefore, set design is not nearly as simple as creating an image in your head of the scene and putting it on the stage. In the rendering of my simplified set, some of my ideas for modification to the original set can be seen. First of all, while the rendering does not contain all the details, the concept is still for the set to be less elegant than the original set. This fits with the theme that the theater company within the show is low budget and amateur. Secondly, the furniture and color scheme were inspired by the board game Clue. In particular, the couch was designed after couches seen on the board game in the lounge and study. The wall color was also based on the game and the light color is meant to keep the area appearing open and large as light colors make spaces seem larger.<br />
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==Props==<br />
The props are very important to the show due to the fact that they add to the humor of the play within the play. The play itself is called ''The Play That Goes Wrong'' and that's what is shown to the audience. The missteps and malfunctions of the Cornley Polytechnic Drama group that go horribly wayward are captured. Below are some of the important props that make the show a comedic success. <br />
{{Infobox<br />
|title = collie<br />
|bodystyle = width:25em<br />
|image = [[File:dog-2286773_1280.png|x450px|alt=Milestone Image]]<br />
|label1= Painting prop<br />
|data1= royalty free image <br />
}}<br />
=== Picture of the Collie ===<br />
It may seem like an odd prop, but this picture is very important to some of the humor of the play. During the show, characters are interviewed by Inspector Carter to determine who killed Charles Haversham. When Cecil Haversham, the brother of the late Charles Haversham, is interviewed by Inspector Carter, the inspector looks at the picture above the broken mantel and asks if the picture of the dog is a portrait of the father. It is obvious that the wrong picture was put up during the set decoration and it shows how the production company producing the show is not at all organized. The conversation progresses and the detective asks if the recently departed Charles was the spitting image of his father, again depicted by the picture of the dog. I choose a picture of a silly looking dog to add to the funniness of the situation and allow the audience to try to picture the actor as a dopey looking dog. If I could get a picture made, I would have the dog holding a whiskey glass and playing cards. The prop has a magnet on it which keeps it attached to the wall and when the door gets shut at the end of the act all of the stuff hanging on the walls falls off by the disengagement of the magnets. This adds to the dysfunction of the show and makes everyone laugh. <br />
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{{Infobox<br />
|title = "white spirit"<br />
|bodystyle = width:12em<br />
|image = [[File:glass-565914_640.jpg|x450px|alt=Milestone Image]]<br />
|label1= Drinkable prop<br />
|data1= royalty free image<br />
}}<br />
=== White Spirit and Whiskey bottles ===<br />
Fake alcohol is often used in theater to liven the mood and add to the plot. As said earlier, props can be something that is edible or drinkable on stage, so the “liquor” does count under the umbrella term of props. During the show, after Charles Haversham’s death, the characters decide to grab some of Charles’s whiskey to calm down. The lines say that the first bottle grabbed is empty but the actor grabs the full bottle so he pours it out. Then when the character grabs the bottle that is supposed to be full it is the empty bottle previously looked for. It is obvious that when the two bottles were placed they were switched or the actor got the bottles from the wrong places. Either way, the scene shows the cast and the production company’s incompetence. The murder mystery inside of the show is just so bad it’s funny. The next problem is that there is no liquor for the cast to drink during the following scene. Instead, the stage manager hands out a few glasses with a bottle of unknown “white spirit” that looks like some cleaning detergent. When the actors are forced to take a drink they all spit it out because of it, of course, tastes terrible. For these props, I will have two generic whiskey bottles, one full of a brownish liquid and one empty. For the “white spirit” handed to the actors as an alternative, I will have a glass bottle with a do not drink sign on it to make sure that the audience understands the mistake and why the actors are spitting the liquid out. <br><br />
{{Infobox<br />
|title = vintage couch<br />
|bodystyle = width:12em<br />
|image = [[File:couch-1952918_640.png|x450px|alt=Milestone Image]]<br />
|label1= Furniture props<br />
|data1= royalty free image<br />
}}<br />
=== Couch ===<br />
The couch is another classic piece of furniture used on the stage. The show takes place during an engagement party on a cold December night during the 1920’s. Therefore, the couch is in the style of that time period. The couch is at the center of the stage and it the center of the drama due to the fact that is where Charles Haversham’s body is found. There is nothing really special about the couch other than having collapsing legs. For the set, I would have a couch that looks like it’s from that time period and has it placed in the center of the stage to attract attention to it. <br />
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{{Infobox<br />
|title = stretcher<br />
|bodystyle = width:25em<br />
|image = [[File:vintage-1636373_640.jpg|x450px|alt=Milestone Image]]<br />
|label1= Illusion Prop<br />
|data1= royalty free image<br />
}}<br />
=== Stretcher ===<br />
A stretcher is another weird prop to find on stage, but props are meant to have attention drawn to them. During the show, the stretcher is used to lift away the dead body, but this stretcher is from the 1920’s. It is basically two long horizontal poles with canvas that is sewn with holes to put the poles through. The funny part of the show is that, when the actors are trying to pick up the body, the two poles rip from the canvas leaving the body and the rest of the canvas under the body. The “dead” body Charles then grabs the poles with his arms and legs to be carried off the stage. It is really funny due to that fact that no matter what the actors do, nothing goes right. To create the stretcher, I would take two seven foot wooden poles and sew the canvas to fit around the poles with enough room to cradle a body inside. I would then have the base Velcroed so that it would imitate ripping when the body is lifted. <br />
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==Lighting==<br />
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[[File:Lighting_The_Play_that_Goes_Wrong.jpg|500px|alt=Image ]]<br />
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The lighting design for ''The Play that Goes Wrong '' is used to add to the comic timing and the absurdity of the play. As previously stated, the show is performed by an amateur theater company who has had several attempts at performing shows such as "Cats" and "James and the Peach" with each show resulting in failure. They are determined to make this show called, ''Murder at Haversham Manor'' a success. The wash for this play remains constant throughout the entire play and there are some attempts to make the lightning fancier with spotlights and flashes of red for dramatic effect. The stage is a stage on a stage, which sounds confusing. The diagram above displays what the stage looks like with the lights and their position on the batons and side mounting infrastructure. The scene of the play does not change and takes place in a living room and study on a cold winter's night as well as behind the set.<br />
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Starting with the lights that are between the fake backstage and backstage, our plan is to use PAR 64 strip lights with ROSCO 81 Urban Blue with Diffuser. The Urban Blue color is a great color to imitate a very cold, brittle scene. There is a diffuser to dampen the coolness and imitate an amateur lighting designer's attempt at making the set cool. These lights will be shining straight downward creating the cool winter scene. For the wash, backwash and side wash, we will use the Source 4 PARNel WFL, the Source 4 PAR MFL and Chauvet LED PAR 64 fixtures. The WFL is to light the wide stage, but because they are to have a wide dispersion of light, the color will be lacking in color intensity. The MFL is also to light the stage; it will have a greater color intensity, but will only have a throw distance of the front of the stage. There will be ROSCO 02 Bastard Amber and ROSCO 4830 CC 30 Pink gels in the fixtures since these colors are excellent on every skin tone and create a happy, warm tone. We have several fixtures meant for spotlighting actors; the Q500NSP (PAR 56 NSP) and ETC 405 (5-degree Source Four). The ETC fixture is meant to spot someone centered on the stage and the QS500NSP is meant to spot someone who is on the left and right middle of the stage. These lights do not have gels because white light is sufficient to spotlight any character. The last two fixtures are the MAC TW1. These are dynamic fixtures meaning that they have a certain degree of rotation in the x and y-axis. They are able to track moving people and can display a CMY spectrum of colors. These will be used for the few scenes of attempted fancy lighting. The angles of the lights that are listed in the table below are only approximate; there is a high chance, that when the master electrician is hanging and focusing the lights, the angles will change.<br />
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There are only a few scenes with "fancy lighting", so the rest is leaving the wash up on the set. These scenes include the opening of the play and during a scene in the beginning where the dead body is found. However, an actor doesn't make his cue and the effect is repeated two or three times as the entire cast repeats that there has been a murder. In the opening of the play, there is a spotlight where the "director" of the play is supposed to stand in to present his play, but he is only half in the light because he did not step forward enough to be in the light. We plan to use the ETC 405 fixture to shine a spot on the stage and have it focused so that we miss the actor. Our plan for the actor who is supposed to be dead on a couch is to use one of the MAC TW1 to shine a spot on him while he is still getting into his place. Lastly, when the cast says "murder", we plan to use both of the MAC TW1s to flash red on the group of actors on the center of the stage. <br />
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===Lighting Details===<br />
{| class="wikitable" width="80%"<br />
! Name<br />
! Angle<br />
! Colour<br />
|-<br />
! scope="row"| Chauvet LED PAR 64<br />
| align="center"| 135<br />
| align="center"|ROSCO 02 Bastard Amber<br />
|-<br />
! scope="row"| Chauvet LED PAR 64<br />
| align="center"| 225<br />
| align="center"| ROSCO 02 Bastard Amber<br />
|-<br />
! scope="row"| Q500NSP (PAR 56 NSP)<br />
| align="center" |135<br />
| align="center" |No Need<br />
|-<br />
! scope="row"| Q500NSP (PAR 56 NSP)<br />
| align="center" |135<br />
| align="center" |No Need<br />
|-<br />
! scope="row"| ETC 405 (5 degree Source Four)<br />
| align="center" |0<br />
| align="center" |None<br />
|-<br />
! scope="row"| Par 64 Strip (WFL)<br />
| align="center" |0<br />
| align="center" |ROSCO 81 Urban Blue with Diffuser<br />
|-<br />
! scope="row"| Par 64 Strip (WFL)<br />
| align="center" |0<br />
| align="center" |ROSCO 81 Urban Blue with Diffuser<br />
|-<br />
! scope="row"| Par 64 Strip (WFL)<br />
| align="center" |0<br />
| align="center" |ROSCO 81 Urban Blue with Diffuser<br />
|-<br />
! scope="row"| Par 64 Strip (WFL)<br />
| align="center" |0<br />
| align="center" |ROSCO 81 Urban Blue with Diffuser<br />
|-<br />
! scope="row"| Par 64 Strip (WFL)<br />
| align="center" |0<br />
| align="center" |ROSCO 81 Urban Blue with Diffuser<br />
|-<br />
! scope="row"| Source Four PARNel WFL <br />
| align="center" |90<br />
| align="center" |ROSCO 02 Bastard Amber<br />
|-<br />
! scope="row"| Source Four PARNel WFL <br />
| align="center" |270<br />
| align="center" |ROSCO 02 Bastard Amber<br />
|-<br />
! scope="row"| Source Four PARNel WFL <br />
| align="center" |30<br />
| align="center" |ROSCO 02 Bastard Amber<br />
|-<br />
! scope="row"| Source Four PARNel WFL <br />
| align="center" |15<br />
| align="center" |ROSCO 02 Bastard Amber<br />
|-<br />
! scope="row"| Source Four PARNel WFL <br />
| align="center" |0<br />
| align="center" |ROSCO 02 Bastard Amber<br />
|-<br />
! scope="row"| Source Four PARNel WFL <br />
| align="center" |345<br />
| align="center" |ROSCO 02 Bastard Amber<br />
|-<br />
! scope="row"| Source Four PARNel WFL <br />
| align="center" |335<br />
| align="center" |ROSCO 02 Bastard Amber<br />
|-<br />
! scope="row"| Source Four PARNel MFL<br />
| align="center" |15<br />
| align="center" |ROSCO 4830 CC 30 Pink<br />
|-<br />
! scope="row"| Source Four PARNel MFL<br />
| align="center" |0<br />
| align="center" |ROSCO 4830 CC 30 Pink<br />
|-<br />
! scope="row"| Source Four PARNel MFL<br />
| align="center" |0<br />
| align="center" |ROSCO 4830 CC 30 Pink<br />
|-<br />
! scope="row"| Source Four PARNel MFL<br />
| align="center" |350<br />
| align="center" |ROSCO 4830 CC 30 Pink<br />
|-<br />
! scope="row"| Martin Mac TW1<br />
| align="center" |20<br />
| align="center" |No Need<br />
|-<br />
! scope="row"| Martin Mac TW1<br />
| align="center" |340<br />
| align="center" |No Need<br />
|-<br />
|} <br />
<ref>"Source Four ® 5 ̊ Ellipsoidal Series". Texas Scenic. N.p., 2017. Web. 14 June 2017.</ref><br />
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==Sound==<br />
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[[File:Sound_The_Play_that_Goes_Wrong.jpg|500px|alt=Image ]]<br />
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The sound design for ''The Play that Goes Wrong'' is not very complex and was purposefully done this way. The cast is made up of only 8 members who have only spoken parts. There is one cast member, who acts as the sound board operator and director, who seems to wear a Clear-Com looking headset that does end up projecting through the speakers. Characters will each have a microphone pack that will be projected out through 4 speakers that are hung on vertical struts. These speakers will have 90 degree dispersion, with 45 degrees of dispersion on each side of the axis. Two of the speakers will be located at the front orchestra section mounted at 45 degree angles from where they are mounted. This will project the sound to the first level of the theater. The other two smaller speakers will be mounted on the wall at the front of the second level and will be lined up against the wall. The diagram above shows the design. <br />
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In the show there are multiple sound effects that go off throughout the show. In the table below, the act, scene, name and file is presented. These are the sounds we would pick if we were to produce the show. We are using YouTube videos that were converted into MP3 files. The references section has the links to the videos.<br />
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{| class="wikitable" width="80%"<br />
! Act <br />
! Name<br />
! Listen<br />
|-<br />
! scope="row"| 1<br />
| align="center"| Creaking Door<br />
| align="center"| <mp3player>File:WoodDoor.mp3</mp3player><br />
<ref>Wood Door Creak Open Sound Effect. (2014). https://www.youtube.com/embed/U3Hqd6fw-i8. </ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Door Slam<br />
| align="center"|<mp3player>File:DoorSlam.mp3</mp3player><br />
<ref>Door Slam Sound Effect (Download Link). (2012). https://www.youtube.com/watch?v=fNNhE0Cz2QY.</ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Dramatic Music<br />
| align="center"|<mp3player>File:Suspense.mp3</mp3player><br />
<ref>Suspense Sound Effects. (2016). https://www.youtube.com/watch?v=ziobtd9JTtk.</ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Flame Lighting<br />
| align="center"| <mp3player>File:Fire.mp3</mp3player><br />
<ref>Fire sound effect (3). (2011). https://www.youtube.com/watch?v=Zmw32wCGWuc.</ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Body Hitting the Ground<br />
| align="center"| <mp3player>File:Bodyeffect.mp3</mp3player><br />
<ref>Body Fall SOUND EFFECT - Körper fällt zu Boden SOUNDS. (2015). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Telephone Ringing<br />
| align="center"| <mp3player>File:Old_phone_-_sound_effect.mp3</mp3player><br />
<ref>old phone - sound effect. (2012). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Drawing Sword<br />
| align="center"| <mp3player>File:Draw_sword_sound_effect_(2).mp3</mp3player><br />
<ref>Draw sword sound effect (2). (2012). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Sword Clashing<br />
| align="center"| <mp3player>File:Sword_clash_sound_effect_(1).mp3</mp3player><br />
<ref>Sword clash sound effect (1). (2012). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Gun Shot<br />
| align="center"| <mp3player>File:MLG_Gun_Shot_Sound_Effect.mp3</mp3player><br />
<ref>MLG Gun Shot Sound Effect. (2016). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Crash<br />
| align="center"| <mp3player>File:LOUD_CRASH_SOUND_EFFECT.mp3</mp3player><br />
<ref>LOUD CRASH SOUND EFFECT. (2015). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Dramatic Music Repeat<br />
| align="center"| <br />
|-<br />
! scope="row"| 1<br />
| align="center"| Dramatic Music Repeat<br />
| align="center"| <br />
|-<br />
! scope="row"| 1<br />
| align="center"| ''Girls on Film'' by Duran Duran<br />
| align="center"| <mp3player>File:Duran_Duran_-_Girls_On_Film.mp3</mp3player><br />
<ref>Duran Duran - Girls On Film. (2010). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 2<br />
| align="center"| Dramatic House Music<br />
| align="center"| <mp3player>File:Open.mp3</mp3player><br />
<ref>🎹 Trevor DeMaere - Opening Stargate (DramaticEpic Orchestral Music). (2012). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 2<br />
| align="center"| Paper Scattering<br />
| align="center"| <mp3player>File:Papers_Falling_SOUND_Effect.mp3</mp3player><br />
<ref>Papers Falling SOUND Effect. (2016). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 2<br />
| align="center"| Clock Chiming<br />
| align="center"| <mp3player>File:Clock_chimes_12_Sound_Effect_(SUPERB).mp3</mp3player><br />
<ref>clock chimes 12 Sound Effect (SUPERB). (2012). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 2<br />
| align="center"| Knocking on Wooden Door<br />
| align="center"| <mp3player>File:Loud_Knocking_on_Door_Sound_Effect.mp3</mp3player><br />
<ref>Loud Knocking on Door Sound Effect. (2014). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 2<br />
| align="center"| Telephone Ring Repeat<br />
| align="center"| <br />
|-<br />
! scope="row"| 2<br />
| align="center"| Doorbell Rings<br />
| align="center"| <mp3player>File:Door_Bell_Sound_Effect.mp3</mp3player><br />
<ref>Door Bell Sound Effect. (2015). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 2<br />
| align="center"| Vase Shattering<br />
| align="center"|<mp3player>File:Glass_Vase_Shattering_Sound_Effect.mp3</mp3player><br />
<ref>Glass Vase Shattering Sound Effect. (2014). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 2<br />
| align="center"| ''Rio'' by Duran Duran <br />
| align="center"| <mp3player>File:Duran_Duran_-_Rio.mp3</mp3player><br />
<ref>Duran Duran - Rio. (2009). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 2<br />
| align="center"| House Music<br />
| align="center"| <mp3player>File:Duran_Duran_-_The_Reflex.mp3</mp3player><br />
<ref>Duran Duran - The Reflex. (2009). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
|} <br />
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==Costumes and Hair and Makeup ==<br />
Costumes, hair and makeup are being based on 4 main characters in ''The Play That Goes Wrong''. The characters have hair, makeup, and costumes based on their attributes and the situations that they are in. <br />
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{{Infobox<br />
|title = Annie <br />
|bodystyle = width:12em<br />
|image = [[File:unat.png|x360px|alt=Milestone Image]]<br />
|label1= Thanks to<br />
|data1= [[User:Nbloniarz|Natalie Bloniarz]]<br />
}}<br />
=== Annie === <br />
Annie is the company's stage manager who makes sure that the actors go on stage at the right time and that the whole backstage is taken care of. She can often be found around the stage trying to keep the show from falling apart. During the beginning of the show she can be seen fixing the broken set and she seems to be pretty well versed in the nuances of the stage and how to fix the stage. Her first costume would be her wearing a nondescript worn t-shirt and a pair of also worn jeans or overalls with a tool belt. This will give her the jack of all trades look. She would have little to no makeup on so as not draw any attention to her. Her hair would pulled up into either a ponytail or pigtails. Her second look (seen in the picture to the right) would be for when she has to take over the role of Florence Colleymoore due to an accidental head injury to the actress. They throw her on stage in the ill-fitting red flapper dress of Ms. Colleymoore, a slightly askew flapper wig right over top of her own hair with the ponytail or pigtails sticking out, and a hasty makeup job. The makeup is absolutely terrible and totally rushed. To achieve this look I first applied a base skin tone foundation and then added some contour on the cheeks to give them more definition. I put a darker concealer under the eye to give the impression of dark circles, which is the opposite of what is typically desired. The eyebrows were filled unevenly and eccentrically to show the haste in the makeup. The lips are smudged and overdone along with blush that covers too much of the cheek. Overall the look should scream overdone, rushed, and terrible, as seen in this picture.<br />
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{{Infobox<br />
|title = Trevor <br />
|bodystyle = width:12em<br />
|image = [[File:mben.png|x360px|alt=Milestone Image]]<br />
|label1= Thanks to<br />
|data1= [[User: Bjsecino|Benjamin Secino]]<br />
}}<br />
=== Trevor ===<br />
<br />
Trevor is the company's lighting and sound operator who makes sure the lighting and sound cues go on during the right part of the script. He is a bit absent minded during the show and can be seen running around fixing things or missing his cues. During the show, he accidentally calls over his com to the audience his notes, which are noting the error on stage to the stage manager, so that the audience notices it even more. One can see him missing sound and lighting cues while he is looking at his phone. Trevor also loses his Duran Duran CD, which he plays as a sound cue by accident and the CD is found in the final scene instead of an important ticket. His demeanor shouts “I don’t care” and tiredness. For his costume, I would have him wear all black, which is the usual technical crew member's outfit. I would leave the actor's natural hair since it adds nothing to the show. His makeup would emphasize under eye bags and would be as natural as possible while highlighting all of the person’s facial flaws. I would have him either grow some stubble or draw it own. To achieve this look I would start with a base foundation of his skin color, stipple highlight, and contour in order to shape his face a little. To create the illusion of wrinkles I would take two different colors, dark and light, and have him wrinkle his forehead. In the crevasses, I would put the darker color and on the top put the lighter color. I would then use a makeup sponge to blend the colors to make the look more natural. To create the stubble on a clean shaven face I would start with a darker foundation around his jawline and then speckle black dots in that area. Then I would blend until I got the desired look. Trevor’s final look would be one of not caring and gross exhaustion. <br><br />
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{{Infobox<br />
|title = Inspector Carter <br />
|bodystyle = width:12em<br />
|image = [[File:oben.png|x360px|alt=Milestone Image]]<br />
|label1= Thanks to<br />
|data1= [[User: Bjsecino|Benjamin Secino]]<br />
}}<br />
=== Inspector Carter (Chris) ===<br />
<br />
Chris is the actor who plays Inspector Carter during the show. Inspector Carter is an esteemed detective called to investigate the death of the healthy, wealthy, and soon to be married Charles Haversham. This show takes place during the 1920’s, so I decided that he should have the look of a 1920’s gentleman. For his costume, I will be taking inspiration from Sherlock Holmes and the quintessential gentleman of the 1920’s. So I would have him wear a pair of trousers, black leather shoes, white shirt, tie, and a long trench coat. This will give him the look of authority during a play that is quite literally falling apart at the seams. Inspector Carter’s hair, if possible, would be slicked back and combed with a part to one side. For the makeup, I would start out with a skin tone foundation and then highlight and contour his face to give him higher cheek bones to make him more proper looking. This would be smudged and blended with a makeup sponge. I would put some dark concealer inside his smile lines to make him look older and wiser. He would also have a small mustache, which could be modeled from Gomez Addams’ mustache. It would be drawn on by hand and then smudged with a brush. He needs to look prim and proper to add contrast to the lack of professionalism during the show. <br />
<br><br />
{{Infobox<br />
|title = Florence Colleymoore <br />
|bodystyle = width:12em<br />
|image = [[File:bnat.png|x360px|alt=Milestone Image]]<br />
|label1= Thanks to<br />
|data1= [[User:Nbloniarz|Natalie Bloniarz]]<br />
}}<br />
=== Florence Colleymoore (Sandra)===<br />
Sandra is the leading lady of the ''Murder at Haversham Manor'' and plays Florence Colleymoore , the soon to be married fiancé of the late Charles Haversham. Her style is of a 1920’s flapper girl who is very seductive and suggestive. She would have a red dress with a modest neckline and that comes down to the mid-calf. It should look kind of cheap looking and be paired with a short kitten heel and skin tone tights. Underneath the dress, she should wear spandex shorts due to the fact she gets knocked out by a door during the middle of the first act and gets carried off through a stage window in the most ungraceful way. The spandex will ensure that the audience does not see more than they paid for. Her second outfit will be when she comes on stage in the spandex and a bra trying to take back the roll from Annie the stage manager. It will be clear that they stripped Sandra of her dress and wig to give to Annie. The makeup for Sandra would start with a skin tone foundation blended with concealer under the eyes. Next, I would stipple highlight and shadow into the face’s peaks and valleys to give the face a more multidimensional look. It should be blended so it does not look splotchy. The eyebrows should be drawn on at a medium darkness, accompanied by a pale eyeshadow. Eye makeup would be finished off with mascara and black eyeliner. I would lightly brush blush onto the apples of the cheeks and finish the whole look off with red lipstick. She will also be wearing a dark haired wig that has a blunt and short flapper hairstyle. Her appearance is important to the play due to the fact that she is one of the only female actors in the ''Murder at Haversham Manor''. She needs to stand out, but also look natural next to the rest of the cast.<br />
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==Poster & Promotion==<br />
[[Image:TPTGS Poster.jpg|thumb|right|x600px]]<br />
For promotion, I designed a poster that can be distributed through a variety of modes such as being hung up in the tube stations, hung around the West End, featured on online theater booking sites and social media. The design was meant to be simplistic and bold so it would catch people's attention and be easy to read quickly. I achieved this through high contrast colors and limiting the complexity of the poster. There are no small details or an abundance of colors to distract the eye from the message. The text is minimal, large, and easy to read. A small line of text can be added underneath the title to indicate the date without detracting from the title. That text would be white and in a basic font. The different elements of the poster are also based on themes of the show. To emphasize the theatrical aspects the font is similar to the one associated with Broadway, the page is framed by a theater marquee, and stage lighting casts a spotlight on the text. To emphasize the chaos of the show lights on the marquee are broken, half of the word "wrong" is falling down, one of the spotlights is broken and the other one is shining a bit too far right also casting more focus on the falling letters.<br />
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=Conclusion=<br />
<br><br />
A theater production is so much more than just the actors. Without the production team, there would be no show. The acting is only just the surface of what goes into a show. When putting on a show, all aspects of the production must be closely considered. The set must allow maximum visibility to the entire audience, be a functional space and contribute to setting the tone of the show. Lighting must highlight both the set and actors and establish tone. The sound system must give every audience member clear, audible sound. Costumes and makeup should give a visual representation of the characters while maintaining functionality for the actors. Finally, the promotional team must ensure that there is an audience to see the show. "The Play That Goes Wrong" simultaneously demonstrates what to do and what not to do. The fictional theater group in the show creates an unstable, unsafe set, misplaces props and misses an actor with their spotlight among other mistakes. However, the show as a whole features many aspects done right by the real-life theater company. The sound system, while simple, is effective and special effects are carried out in a safe manner. They manage to have the second floor of the set collapse in a safe manner. The set design, through subtly creating an angle in the rear wall, allows for good visibility of the entire set. <br><br />
Future research may compare other productions of "The Play That Goes Wrong". Long-term research includes how theater practices and technology evolve from where they are today.<br />
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=Attribution of Work=<br />
We all participated equally in the writing, research, and effort that was put into this large project. As a group, we went to see ''The Play that Goes Wrong'' and bought the play script to help mold the show into our own.<br />
<br><br />
==Katharine Conroy==<br />
In the background and deliverable, I wrote the sections on props, hair and makeup, and costumes. <br />
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==Lauren Conroy==<br />
I wrote the abstract, introduction, lighting background, sound background, and lighting deliverable.<br />
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==Justine Roy==<br />
I wrote the scenic background, promotions background, modern costuming practices, scenic deliverable, promotions deliverable, and conclusion.<br />
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=References=<br />
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<!--DO NOT COPY THE FEATURED CATEGORY CODE BELOW--><br />
[[Category:Featured Projects]]<br />
<!--ONLY LONDON HUA ADVISORS MAY USE THE FEATURED CATEGORY TAG ABOVE--></div>Kfconroyhttps://londonhuawiki.wpi.edu/index.php?title=Theater_Beyond_the_Actors&diff=19373Theater Beyond the Actors2017-06-22T14:43:06Z<p>Kfconroy: </p>
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<div>=Theater Beyond the Actors=<br />
by [[User:Lconroy|Lauren Conroy]]<br>[[User:Jaroy|Justine Roy]]<br>[[User:Kfconroy|Katharine Conroy]]<br><br />
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{{Infobox<br />
|title = Theater Beyond the Actors<br />
|bodystyle = width:25em<br />
|image = [[File:The Play That Goes Wrong- sm- JR.jpg|x450px|alt=Milestone Image]]<br />
|label1= The Play That Goes Wrong<br />
|data1= Duchess Theater <br />
}}<br />
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[[Category:Drama & Theater Projects]]<br />
[[Category: 2017]]<br />
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=Abstract=<br />
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This milestone looks at the elements that add to the success of a show, which includes scenic, props, lighting, sound, costumes, and poster & promotion. We explored what these elements were like in early theatrical performances in comparison to modern day performances. Some of our research came from attending several current plays in the West End as well as backstage tours of the [[National Theater]], [[The Globe Theater]], and the Royal Shakespeare Company. This information was implemented into our deliverable through our own technical design of the play, ''The Play That Goes Wrong'', which we attended on May 9th. <br />
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=Preface=<br />
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As a group, we had been very involved in theater at WPI. Two of our members were involved in a combination of acting, lighting, and scenic for the Showcase in D-Term. We had all taken various drama classes including, Theater Workshop and Introduction to Drama: Theatre on the Page and on the Stage and had been taught a lot about important dramas and what it takes to put on a show. We were excited to implement what we knew and what we would learn into our deliverable. <br />
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In order for any show to succeed, there must be a dedicated, creative, hardworking production team. This team has the capability of creating a show that can move the audience to laughter, tears or both. Every aspect of the production is important and the show would suffer if a portion was neglected. As a group, we discovered how much time and effort it takes to create a cohesive, successful play. Each department in the production team has to communicate with each other to assure that everything is consistent and does not clash with another department's design. Our main objective was to create a solid design for each department of the production team, specifically scenic, props, lighting, sound, costumes, and promotion. Based on our research, we were able to determine how to create our concepts using specific makeup, props, construction material and lighting fixtures. Our final designs embody all that we have learned through reading and watching "The Play that Goes Wrong" at the West End. <br />
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__TOC__<br />
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<br />
=Introduction=<br />
<br><br />
Theater is one of the oldest art forms that expresses thoughts and ideas through visual entertainment and performative elements. It stretches back to the time of the Romans and ancient Greeks with traditions continuing into modern day. Performances at theaters can leave audiences crying, laughing, beguiled and awe-inspired, but it takes teams of area specialized people to make sure these productions are successful. Technical groups such as scenic, props, lighting, sound, costumes, and poster & promotion aid in the creation of setting the perfect atmosphere for actors and actresses to deliver their lines and move audiences. These groups are the unsung heroes of what makes theater so spectacular.<br />
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The goal for this milestone is to create our own technical designs for ''The Play that Goes Wrong'' utilizing the information we learned from the background and by seeing the show. Each of us put our own spin on the scenic, props, lighting, sound, costumes, and promotion of the play. For each section, we have some type of physical diagram or photograph displaying what we would have done if we were put in charge of each technical department of the show. The results and a statement of why we chose to design our set, props, lighting, sound, costumes, or promotional item the way we did are placed in the deliverable section.<br />
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=Section 1: Background=<br />
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When people go to watch a show, they may think of the amazing acting and/or singing that is taking place. They ooh and aah at the magnificent story told by these actors and actresses, but little do they think of the unsung heroes behind the scenes who work tirelessly to make the characters look and perform the way they do on stage. There is much more to a show than just the actors. Behind the actors, there is a huge line of support crew contributing to every aspect of the show beyond the performers who, without them, the show would not be able to go on. These people belong to the groups of scenic, props, lighting, sound, costumes, and promotional aid. Below is an in-depth analysis of these technical groups that make shows come alive. <br />
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==Scenic==<br />
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The set is affected by a number of factors including theater style, the plot, the setting, the tone, the budget and the designer's imagination. <br />
===History & Techniques===<br />
Going all the way back to the ancient Greeks, their set was just a backdrop. It was designed to provide context for the show and give a place for the actors to hide offstage. In their later years, the backdrop developed to have doors for the actors to enter and exit. The Romans adopted the Greek style and not much changed for the Renaissance and Commedia Del'Arte eras. (Carver, 2009, p 4-11) Between the 16th and 19th centuries, set designs continued to develop. During this time, the wing and drop style came into being. Wings refer to the extension of the backdrop downstage on either side. These were also called legs. Above the stage, a border was added to round out the set. These changes had the added benefit of hiding the inner workings of the theater. Another popular style to emerge was the use of Periaktoi. Periaktoi were three-sided columns that would be arranged side by side. The backdrop would be divided into columns and put on one side of each Periaktoi. The Periaktoi could then be turned, sometimes with the use of a pulley system, to reveal a given backdrop. Flying effects also developed. A platform that was attached to a vertical track could be raised and lowered with pulleys. In an effort to disguise the system, a two-dimensional cloud would mask the platform. Trolley systems for moving set pieces also developed. The pieces would be attached to tracks under the stage that would be pulled along their path using ropes and a crank. This is also the time that the iconic trap door came into being. The door in the floor would open and actors could enter or exit via ladders or primitive elevator systems. The 18th century brought technology advances that enabled quicker transitions and a desire for more realism. This desire for a more realistic experience led to the box set. The box set typically is comprised of three walls, a ceiling, and a scenic ground row. Previous stages were made at an incline to aid in visibility and acoustics with the back of the stage at a higher elevation than the front. This was done away with in order to make the set appear more natural. The box set also led to the convention of the fourth wall. This division between the performance and the audience was furthered by masking the stage from the audience before the show with a curtain. While flying was phased out of style because it was unrealistic, casters (the wheels seen on shopping carts) became the primary means for moving scenery. The revolving stage also grew in popularity as it enabled quick scene changes. The set would be constructed on a platform, built as part of the stage, that could spin. The platform with the scenery would then spin to reveal new sets. (Carver, 2009, 194-196) All of this technology is the basis for current scenic design. While technology has advanced greatly since those time, many of the concepts are still used today. <ref>Carver, Rita Kogler. Stagecraft Fundamentals. 1st ed. Boston: Focal, 2009. Print.</ref><br />
<gallery mode="packed" heights=300p caption="Periaktoi"><br />
Image:Beach Periaktoi- sm- JR.JPG<br />
Image:Periaktoi Transition- sm- JR.JPG<br />
Image:Forrest Periaktoi- sm- JR.JPG<br />
</gallery><br />
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===Design Considerations===<br />
As I said previously, there are many factors that go into the set design. Clearly, there are many options available to scenic designers and they must choose those that best achieve their creative image within their constraints. Depending on the venue and the show, the budget can vary greatly. Broadway and West End shows have massive budgets that allow for costly effects. These shows can showcase expensive effects such as pyrotechnics and trap doors. On the other hand, the local theater will have a much smaller budget and will have to keep the set simpler or get quite creative with the resources they have. Another important factor is the style of theater. Most people are accustomed to the proscenium theater where all of the action takes place behind the proscenium arch. With a proscenium stage, the designer only needs to worry about the audience on one side of the stage and what can be seen at different angles to the stage. However, thrust stages that have the audience on three sides, arena stages with the audience on all sides and black box theaters that can have the audience theoretically anywhere require more careful consideration. It is easy to block the view for parts of the audience due to large scenic pieces. While a couch may be a useful place to sit, this could result in blocking the view for those situated behind or to the side of it if it is not carefully considered. Spectators' view should never be compromised unless for very good reason as every person is paying to see the show and should have a good experience. In addition, limited backstage space as a result of the style of the stage could limit set changes. (Carver, 2009, p 14-19) Naturally, the tone, setting, and plot of the show all contribute to the designer's vision for the set. The set must reflect the environment the show takes place in, be a functional space for the actors to work in and contribute to the feel of the show.<ref>Carver, Rita Kogler. Stagecraft Fundamentals. 1st ed. Boston: Focal, 2009. Print.</ref><br />
<gallery mode="packed" heights=150p><br />
Image:Proscenium- sm.jpg|Proscenium Stage<ref>By User:FA2010 (Own work) [Public domain], via Wikimedia Commons</ref><br />
Image:Thrust-sm.JPG|Thrust Stage<ref>By Wharton Center (Own work) [CC BY-SA 3.0 (http://creativecommons.org/licenses/by-sa/3.0)], via Wikimedia Commons</ref><br />
Image:Arena- sm.jpg|Arena<ref>By Savino Paolella [CC BY 2.0 (http://creativecommons.org/licenses/by/2.0)], via Wikimedia Commons</ref><br />
Image:Black Box.jpg|Black Box Theater<ref>See page for author [CC BY-SA 3.0 (http://creativecommons.org/licenses/by-sa/3.0)], via Wikimedia Commons</ref><br />
</gallery><br />
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===Design===<br />
While there is no mandatory process for set design, it typically includes many sketches and models of the design. This is important so the set designer can effectively communicate their vision for the set with the director and other departments to create a cohesive image. Early stages of design might be represented through sketches then renderings. As the design develops, a scale model of the set on the stage will be created. This allows for people to get a good idea of the space there is to work with. Audience views, lighting and functionality can be tested. Once the design is finalized, technical drawings will be sent out to the fabrication shops for it to be constructed. (Carver, 2009, p 197-205) When designing the set, not only are there the previously mentioned techniques and considerations for the designer to keep in mind, there are also artistic considerations. The first thing a designer might do is research the setting of the show. For example, if the show is set in the past, then the designer will want to capture the architecture of the time. Once they develop an idea of what the set should convey and the elements that it should contain, the designer must decide how to put it all together. In part, this may come from how an actor is supposed to move through the space. If the set is a house that the character walks through then it might be necessary that the kitchen and living room are located next to each other. However, much will be left to the designer's discretion. One rule of thumb is the rule of thirds. Imagine that the scene is divided into a three by three grid. Positioning focal points along the two imaginary horizontal and vertical lines creates an image that is supposed to be more visually appealing. It is typical for a person to just focus on the center of what they see. By creating the other focal points, it draws the viewer's attention to more of the scene and makes the image more interesting. Set design calls on many more features seen in art. Line style, color, texture, line weight, shape, pattern, scale, and shades should all be taken into account. Cool colors create a sad or mellow tone whereas warm colors are happier and more energetic. Straight lines can be harsh while curved lines are typically soothing. Bright colors indicate a happy mode while dark colors can be upsetting and mysterious. (Carver, 2009, p 33-73) Therefore, set design is a process of considering a variety of elements and determining the best way to combine them to achieve the desired effect. There is no one correct design.<br />
<ref>Carver, Rita Kogler. Stagecraft Fundamentals. 1st ed. Boston: Focal, 2009. Print.</ref><br />
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===Fabrication===<br />
Designing the set is still only just the beginning. Once the technical drawings are handed over, the set still needs to be created and there are a variety of ways to achieve this. Sometimes the drawings will specify details such as materials. Often times it is the decision of those making the set. Most of the time the set is not made of what the audience would expect. Large marble and brick structures could be painted wood. Stone or metal statues could be carved from foam. In the world of theater, nothing is as it seems. This is where the artistic skill of those creating the set comes in. A common set piece is the flat. A flat is essentially a painted piece of plywood or some other composite board. When painted correctly, the flat could appear to be much more than it is. Scenic artists have developed techniques for convincingly painting the appearance of different surfaces onto flats, backdrops and other scenic pieces. Marble is created by painting several layers of paint, according to certain complimentary color schemes, and swirling the paints. Brick is also achieved by layering paint. Often times clay or other mediums can be used to add texture beyond what painting can provide. This part of the process has endless possibilities. If an artist has a vision, they are sure to find some creative method of fulfilling it. (Carver, 2009, p 205-244)<br />
<ref>Carver, Rita Kogler. Stagecraft Fundamentals. 1st ed. Boston: Focal, 2009. Print.</ref><br />
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===Current Examples===<br />
National Theater's [[National Theater#Theater Space#Olivier Theater|Olivier Theater]] is set up for advanced scenic techniques and designs. The fly is 30 meters high and automated enabling quick and smooth set transitions. It has enough power to lift a double decker bus enabling them to store large scenic elements. The most notable technology they have is the drum under the stage. The drum spins enabling a rotating stage. In addition, it is split into two halves with each half being a stage lift. In the past, these lifts have been used to reveal the cross section of a ship in a production of "Treasure Island". The recent production of "Twelfth Night" made good use of the technology available. The set featured a revolving stage. There was a wedge that could rotate and split apart into different slices that would reveal the various sets. The revolving motion was also used to indicate motion and travel. For example, as the actors drove off stage at the end of the first scene, the stage also spun giving the cars more distance to travel as well as transforming the set. In addition, there were two trap doors used to reveal a hot tub and a fountain. A revolving stage was also used in the performances of "Harry Potter and the Cursed Child" at the Palace Theater. The effect was not as dramatic as in "Twelfth Night" where the entire set rotated. Instead, the revolving stage was used to create motion. Specific scenic elements were able to wobble back and forth or spin. For example, Hogwarts' moving stairs were able to spin to mimic their movement. Sometimes the stage would rotate to counter the movement of a character enabling them to walk further than they actually had. Other times characters would be moved without them walking. The set itself was simplistic in comparison to the spinning set seen at the National Theater. There was a backdrop and flats along each of the wings. These flats were on some sort of carriage system that enabled them to be slid side to side. This came in handy when the stage had to be transformed into the Forbidden Forrest. The flats were able to be slid into the stage space to create the trees. The set of "Don Juan in Soho" at the Wyndham's Theater was also notable. While much of it was created through the use of furniture and projections, the set underwent a radical change at the end of the show. The entire stage space was transformed when the sides of the stage swung outward. This created a wider image. The ceiling then tilted down towards the back of the stage which heightened the effect of the widening of the stage while focusing attention towards the back of the stage where actors were. The [[Royal Opera House]] also has a unique system for managing their set. They have a wagon system designed by Rolls Royce. When sets are delivered to the theater, they are stored in a conveyor system. When they are needed, the stage and set are placed on wagons that can slide into a spot on the permanent stage and be lowered hydraulically into place. This enables them to completely switch between the sets for two different shows in just twenty minutes. Furthermore, the Royal Opera House makes the entirety of their sets off-site in Thurrock. In contrast, National Theater makes roughly 60-80% of their sets. Their set building process takes place over just six to eight weeks. Parts will be constructed from scratch or bought and modified if it proves more economic and efficient. One trick they use when creating intricate or heavy set pieces is to use foam. For example, decorative molding that would take a long time to carve out was created by making a mold and filling it with expanding foam. The foam was then painted gold and appeared as if it was authentic. Unfortunately, despite all the work that goes into these sets, they cannot be reused due to the copyright on them. After the run of a production, they are put in storage until they are eventually recycled.<br />
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==Props==<br />
Props, simply put, are pieces of property of the theater company that enhances the set and story. It comes as no surprise that "prop" is just the shortening of property. Props range from elaborate falling chandeliers to plain coffee cups. It is an umbrella term for anything that is portable on stage and does not fall into any other category. Ironically, food and drink consumed on stage fall under the category of a prop. They are used to enhance the plot and characters or the show. Props have been used since the beginning of theater, most notably in Greek and Roman use of masks (Bieber, 1961, p.) <ref> Bieber, M. (1961). The history of the Greek and Roman theater: 2d ed., rev. and enl. Princeton, NJ: Princeton University Press. </ref> However, there is not a lot of history on props as they are often less memorable than a costume or wig, despite that many times they are the height of the tension or excitement in a show. Andrew Sofer demonstrates this best with the use of a prop gun as the medium of drama for a show’s plot. He uses the example of Henrik Ibsen’s “Hedda Gabler” to show the double meaning between killing time and how Hedda must kill herself to end time (Sofer, 2003 p. 167- 203). <ref> Sofer, A. (2003). The stage life of props. Ann Arbor, MI: Univ. of Michigan Press. </ref> He does an in-depth analysis of the symbolism of gun usage in different shows to kill not only one’s self but also all that it represented. One can see that props have a special place on a show’s stage and are necessary to communicate ideas important to the plot. <br />
<gallery mode="packed"><br />
Image:figs-1620590_640.jpg|''Edible Props ''<br />
Image: burning-money-2113914_640.jpg|''Flammable Prop''<br />
Image: glasses-543117_640.jpg|''Glasses''<br />
</gallery><br />
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==Lighting==<br />
===The Early History of Lighting in Theaters===<br />
The theaters of the ancient Greeks were always open and performances always took place during the day. They based the start time of the show on the position of the sun in the sky. That way, if darkness was needed, they would have the night sky. In Shakespeare’s time, theaters were moved indoors, so the candles were needed for lighting. The first type of candles used was called footlights because they were located near the actors’ feet. Traditionally, these lights were located on the downstage edge and apron of the stage. Eventually, just putting candles at the edge of the stage would no longer suffice as more control over lighting was desired. It was then discovered that putting a reflective surface behind the candle, between the audience and the actor, would intensify the light. To change the color of the lights, colored liquid would be placed between the footlight and actors. Gas became popular in the late 1700’s and the early 1800’s when it began to be pumped into buildings for lighting. This lead to the invention of the limelight. This device is created by directing a gas flame at a cylinder of calcium oxide. This invention was first used in London at the Covent Garden Theater. In the 1850’s, Joseph Swan, an English physicist, and chemist began working on a light bulb using carbonized paper filament in an evacuated glass bulb. This lightbulb had a low resistance and was not ideal for use in theater. Thomas Edison improved on Swan's design and created a high resistance lamp in a very high vacuum which could burn for hundreds of hours. The fluorescent lamp was created a little after the development of original light bulb. This is a gas-discharge lamp using electricity to excite mercury vapor. The excited mercury vapor produces a short-wave ultraviolet light that causes a phosphor to fluoresce, producing a visible light. Halogen lights are incandescent lights that use a tungsten filament sealed into a compact, transparent, quartz envelope. The envelope is filled with an inert gas and a small amount of halogen, which increases the life of the bulb. (Carver 270-279)<br />
===Conventional Fixtures===<br />
Conventional fixtures are non-moving lights usually hung off of a truss and batons. They are flown in and out to focus the lights on the stage so that performers and items can be spotlighted. <br><br />
All conventional fixtures have a lens, yoke, lamp housing, power cable, accessory holder, and a pipe clamp. At the front of each fixture is the accessory holder for gel frames and directly behind that is the lens holder. There are different types of lenses such as VSNP (very narrow spot), NSP (narrow spot), MFL (Medium Flood), and WFL (Wide Flood), which do as their names suggest. In the middle of a fixture is the yoke. This is used to angle the fixture to focus the light. At the end of the fixture are the lamp housing and the power cable. The housing allows you to change the lamp when it goes out. The cable allows you to connect the fixture to power. Some can even come with LED lamps. (Carver 280)<br />
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====Beam Projector====<br />
{{Infobox<br />
|bodystyle = width:25em<br />
|image = [[File:Beam.JPG|110px|alt=Image ]]<br />
|label2 = '''Description'''<br />
|data2 = Beam Projector Effect (WIKI Commons)<br />
}} <br />
This fixture has an open face and produces a narrow beam of light by using two reflectors. The primary reflector is located in the back of the fixture and is a flat parabolic reflector. In the front of the lamp is the secondary reflector which is spherical and reflects the light from the lamp. Towards the back is the parabolic reflector. The parabolic reflector collects the light from the lamp into intense parallel beams of light. (Carver 280)<br />
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====Scoop==== <br />
{{Infobox<br />
|bodystyle = width:25em<br />
|image = [[File:Scoop.jpg|130px|alt=Image ]]<br />
|label2 = '''Description'''<br />
|data2 = Scoop Fixture (WIKI Commons)<br />
}} <br />
These fixtures are open-faced units that have no lens. The housing for the light itself is ellipsoidal in shape and the inside of a scoop is painted white to reflect the light forward. There are few possibilities when focusing these lights because they can only pan or tilt. Some may joke that one may cook their act if they solely use these lights to light the stage. Scoops come in several sizes from 10 inches to 18 inches. (Carver 280-281)<br />
====Fresnel====<br />
{{Infobox<br />
|bodystyle = width:25em<br />
|image = [[File:Fresnel.JPG||140px|alt=Image ]]<br />
|label2 = '''Description'''<br />
|data2 = Fresnel Fixture (WIKI Commons)<br />
}} <br />
These lights are versatile because they can be used as a stage wash or to focus on a single character. Fresnel lights are soft-edged and have spherical reflectors in the back with sliders attached to the bottom to allow for easy focus. By adjusting the slider forward and backward the relationship of the reflector and the lamp to the lens is changed. Fresnels come in a wide range of sizes from 3 inches to 24 inches and are arguably one of the most used conventional fixtures. (Carver 281)<br />
====Source 4====<br />
{{Infobox<br />
|bodystyle = width:25em<br />
|image = [[File:S4.jpg|150px|alt=Image ]]<br />
|label2 = '''Description'''<br />
|data2 = Source 4 Fixture (WIKI Commons)<br />
}} <br />
The original name for this fixture is the ellipsoidal reflector spotlight or ERS. Many people also refer to it as a leko light, while some others call it a Source 4 because the is the most popular fixture from the ETC company. The Source 4 has an ellipsoid reflector and two lenses. This means the user can change the focus of the beam by changing the distance between the two lenses. Depending on the focus, the user can get a harder edge or softer edge. It is the most flexible and most used fixture in the industry. They also have rotational or stationary shutter barrels. By pushing the shutter into the fixture, the user can mask a portion of the light that comes through the fixture. The rotational shutter barrels allow users to shutter abnormal light angles. Exchangeable lens tubes that come in: 5°, 10°, 14°, 19°, 26°, 36°, 50°, 70°, and 90° can also be purchased. (Carver 281)<br />
====PAR====<br />
{{Infobox<br />
|bodystyle = width:25em<br />
|image = [[File:Para.jpg|150px|alt=Image ]]<br />
|label2 = '''Description'''<br />
|data2 = PAR Fixture (WIKI Commons)<br />
}} <br />
PAR is actually the name of the lamp that is in the fixture. It stands for parabolic aluminized reflector. The lamp and the reflector are sealed together with a lens which is then inserted into the back of a tube, or “can”, to help shape the beam of the light. Note: Some people call these fixtures PAR CAN. This fixture and the Source 4s are the two fixtures that use different lenses such as the VSNP, NSP, MFL, and WFL. Most PAR beams have an oval shape that can rotate to change the direction of each beam’s axis. Some of the newer versions allow you to separate the lamp from the lens, making them very similar to scoops. (Carver 281-282)<br />
====Strip Lights==== <br />
{{Infobox<br />
|bodystyle = width:25em<br />
|image = [[File:Strip.jpg|110px|alt=Image ]]<br />
|label2 = '''Description'''<br />
|data2 = Strip Light (WIKI Commons)<br />
}} <br />
These are large, bulky lights that usually remain in one place for multiple shows. They can have lights of multiple colors or just white lights. They are hung using C-clamps. Strip lights are used for general stage washes or to provide back lighting so the actors can see. (Carver 284)<br />
===Intelligent Fixtures===<br />
Intelligent fixtures are moving fixtures. They can also be hung off of a truss and batons or they can sit on stages and other flat surfaces. Their placement is important because they have a limited range of motion. Unlike conventional fixtures, intelligent fixtures require programming. They are addressed to the directory and is able to understand the user. They are more difficult to program than conventional lighting because they have more than one attribute per fixture that must be controlled. For concerts, these fixtures usually need a skilled live operator who knows what the performer is doing onstage and the cues for lighting changes. The most popular brand for these types of fixtures is Martin and the most popular fixtures are their MAC Auras, MAC 2000 profile/wash movie light and Seladore Desires.<br />
(Carver 285)<br />
===Controllers/Consoles===<br />
In order to raise and lower dimmable fixtures, users use control boxes called dimmers. Dimmer racks have patch bays where fixtures can be associated with a letter and a number to keep track of and control each light individually. A user may run DMX, digital multiplex, to run the lights off of a lighting console. <br><br />
Consoles take the patched lights and allow users to be able to control the lights as cues from shows. This process is tedious but adds so much depth. Imagine ''Defying Gravity'' without that beam of light that suddenly shows on Elphaba. The scene would have less impact without it. Cues are usually named after what scene and act they are in. Usually, a board operator is told when to play the cue by the stage manager via ClearComm. (Carver 288-289)<br />
===Accessories===<br />
GOBOs are different patterns that are cut out in metal and placed in a Source 4 using a GOBO holder. Shadows are cast by the GOBO to achieve the desired effect. Gels change the color of a light fixture without having to change the lamp bulb. They can be diffused with white and darkened with another color. A top hat helps reduce flare and cut out some excess light. Barn doors are placed in front of soft edge fixtures such as fresnels or PARs to block parts of light beams that spill into the border (Carver 289 291).<br />
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==Sound==<br />
===The Ancient Greeks===<br />
The Ancient Greeks are one of the first civilizations to create and build theaters for performances. Many theaters today use concepts and designs that were contrived by this group of people. The design of these theaters was quite simple, in fact, they were designed based on a circle. The diameter of a theater was often 80 feet in length, which is two times the size of most theaters today. In order for the sound of the actors to reach every one of the 12,000 people in the theater, the construction of the building had to be to specifically engineered for sound to travel up the stadium seating.<ref>Carver, Rita Kogler. Stagecraft Fundamentals Second Edition: A Guide And Reference For Theatrical Production. 2nd ed. Burlington, MA and Jordan Hill, Oxford, UK: Focal Press, 2012. Print.</ref> The first documented discussion of concerns about stadium acoustics versus view was brought about by the Roman Vitruvius in the first century BC. He presented the idea that a theater with acoustic dissonance, circumstance or resonance would be unsuitable for audiences and therefore actors. He proposed that careful attention must be made to the selection of the theater site and the type of performances that would occur there, whether they are acting or singing. It was Vitruvius who sparked the development of acoustics of Greek theaters, which spanned over two centuries.<br />
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{{Infobox<br />
|title = Sound Ray Paths<br />
|bodystyle = width:25em<br />
|image = [[File:Reflect.jpg|320px|alt=Image ]]<br />
|data2 = Figure 1 ''Auditorium Acoustics And Architectural Design'' by Michael Barron <br />
|label2= '''Description'''<br />
}} <br />
After an extensive trial-and-error process, the Greeks created a theater design that optimized the sound quality and volume for all members of the audience. Sound propagation in a Greek theater was essential to increase the volume. Every member of the audience would receive direct sound based on three reflections of sound; the reflection from the front of the horizontal orchestra, the reflection from the front chorus on the rear half of the orchestra, and the reflection for the actors on the raised stage.<br />
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Figure 1 illustrates the previously described reflection sequence. The reflection from the orchestra carries speech 40% further than without the modification. Greek theaters have the distinct feature of a steep seating rake, around 20 to 34 degrees. Although this is not confirmed, there is no doubt that the higher angles of incidence to the audience seating have a profound effect on the sound quality for the audience. Though these modifications aided in the increased volume of the actors, there had to be silence from the surrounding area of the theater and the audience for unassisted speech to be audible. This is why many theaters were located in urban locations.<ref>Barron, Michael. Auditorium Acoustics And Architectural Design. 1st ed. London: Spon Press/Taylor & Francis, 2010. Print.</ref><br><br />
{{Infobox<br />
|title = Mask Filter<br />
|bodystyle = width:25em<br />
|image = [[File:Polar2.JPG|320px|left|alt=Image ]]<br />
|data2 = Figure 2 ''The sound effect of ancient Greek theatrical masks '' by Fotios Kontomichos, Charalampos Papadakos, Eleftheria Georganti, John N. Mourjopoulos and Thanos Vovolis<br />
|label2= '''Description'''<br />
}} <br />
The most notable theater for its location is the isolated site of Epidaurus, which accommodated around 14,000 people and dates from around 350 BC. In the second century, this theater was considered the most perfect of all the Greek theaters. Seats at this theater reached distances of 70 meters from the front of the stage. How could sound reach the entire audience? The two factors that amplified the sound were masks and the theater design. With a distance that far, the actors used masks to act as a microphone to spread the sound of the actor's voice further. The masks, themselves, were constructed from hardened liquid stone and varied in design aspects such as whether they had open ears or an open mouth. Modern engineers have replicated these masks by creating mannequins that resembled the mask form and produced the type of sound that had come from these actors. The measurements they took produced a set of h<sub>θi</sub>(n) of discrete time impulse responses measured for different angle intervals with the mask on the mannequin. From there, the group was able to determine the corresponding magnetite frequency responses. The final results indicated that mask has the properties of an angle-dependent acoustic filter and the acoustic radiation of the actor's voice was significantly enhanced for the off-axis scenarios. <br />
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Figure 2 is based on the measurements from the manikin and shows the polar patterns for the mask filter and the mask radiation for octave bands centered at 0.25,1,2,4 and 8 kHz.<br />
The acoustics of the theater of Epidaurus were flawlessly tuned for each performance. Any sound produced in the orchestra was reflected and scattered around the theater of the hard limestone surfaces and ultimately reached the audience's ears. The reflected energy reached the listeners with a very small delay of 40 milliseconds. At all positions of the theater the most significant frequencies of the male speech, with a pitch ranging from 125-140 Hz, first vocal harmonics, at 250-420 Hz, and formants, from 300 HZ to 3 KHz, were amplified while keeping the richness and color of each voice. Any sounds that were outside of those ranges were filtered out to avoid the early beginnings of feedback.<br />
In order to see the effects of theater's specific design and the use of the mask working together, engineers denoted h<sub>TIRθ<sub>jrj</sub></sub>(n) as the discrete-time impulse response of the "theater-filter" and measured it for azimuth angles θ<sub>j</sub> and distances of r<sub>j</sub>. This combined impulse response, CIR, was then denoted at h<sub>CIRθ<sub>ijrj</sub></sub>(n) The resulting formula is able to calculate the acoustic results in terms of gain.<br />
<ref>Kontomichos, Fotios et al. "The Sound Effect Of Ancient Greek Theatrical Masks". ICMC. Athens: N.p., 2014. Web. 6 June 2017.</ref><br />
[[File: Stage.JPG|x320px|left|thumb| Plane Measurement and Coordinates for Theater Source and Receiver Positions and Masks]]<br />
[[File: Mask.JPG|x320px|right|thumb| Schematic diagram ]]<br />
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===21st Century Sound Systems===<br />
{{Infobox<br />
|bodystyle = width:25em<br />
|image = [[File:Soundsystem.png|320px|alt=Image ]]<br />
|label2 = '''Description'''<br />
|data2 = Sound System Diagram (WIKI Commons)<br />
}} <br />
Since the time of the Greeks, technology has evolved and become more advanced. The invention of electricity has played a key role in increasing the volume and quality of the actor's vocals. Acoustics refers to the sound quality of a room in reference to the overall audio quality without any sound amplification devices such as microphones and speakers. When creating a theater, the ambient noise that is surrounding the building or room when there is no planned audio must be considered. The Greeks dealt with this by having their theaters located in the middle of nowhere, but in today’s times, that would be utterly useless and unfeasible. Who would want to go to a play or musical in the Sahara Desert? That is why today many theaters pad their walls and make sure the stage is covered by a sound-absorbing curtain, which also doubles as an object to hide the cast until ready. Modern actors may not have learned the proper way to project their voice so that the audience in the back can hear. Modern-day sound systems have let actors and actresses become more lenient with projecting their voices because, with the adjustment of a gain knob and the increase of a slider, their volume is magically louder. Along with the actors and actresses on stage, there are orchestra reinforcements to add to the mood of a performance. However, there is a delicate balance between the actors and actresses and the orchestra because louder does not mean better. It is important to know the difference between amplification and reinforcement or the show could go horribly wrong. Amplifying denotes that the volume of an actor, actress or instrumentalist is increasing. Reinforcement is all about moving sound to create the perfect environment which requires a subtle touch. Amplification is noticeable whereas reinforcement shouldn’t be. Today's sound engineer must also account for the sound of background noise created newer technologies such as HVAC systems<br> (Carver 364)<br />
====PA Systems or Sound Systems====<br />
For a basic sound system, there are three main areas: input, output, and processing. Inputs are quite simple. They are the microphones that are connected via wires or wirelessly to a mixing console. The mixing console takes those inputs and can make pre-amplification changes on the microphone level signals to line levels. The signal then goes through equalization. Different filters can be applied to each microphone. This is helpful for equalizing different voices such as a female voice versus a male voice. Low pass filters are used on male voices so that any noise that comes through the microphone outside of the specified frequency is negated. Similarly, a high pass filter is used for female vocals. Level control is then used to process the signal and send it to the output. The output of a console is an amplifier, most commonly a speaker. The speaker converts the signal that is received into sound waves that people can hear and hopefully enjoy. Sound equipment has many variations. Inputs can include microphones (wireless, lavier, wired, wireless mic packs), contact pickups, magnetic pickups, laser pickups and optical pickups. Signal processors can include reverberation, delays, and amplifiers. Outputs can be loudspeakers (subwoofers, woofers, midrange, and tweeters) and headphones. The most important part is choosing the right equipment for the right show and location as well as speaker placement. For example, subs and heavy bass would not typically be used for a ballet. (Carver 366-367)<br />
====Microphones====<br />
{{Infobox<br />
|bodystyle = width:25em<br />
|image = [[File:Mic.JPG|320px|alt=Image ]]<br />
|label2 = '''Description'''<br />
|data2 = Different Types of Mics (WIKI Commons)<br />
}} <br />
The most basic function of a microphone is to pick up the sound and convert that acoustic sound to electrical energy. There are two main groups of microphones, dynamics, and condensers. Dynamic microphones are versatile, reliable, durable and, most importantly, affordable. The SM57 and SM58 are able to handle anything that life throws at it. The SM58 is used widely as a microphone for vocalists and is most notably identified by its ball grille. The SM57 is more for instrumentalists and can have a windscreen for heavy wind or breathing. Both the SM58 and SM57 are very similar in design and range and can be used interchangeably. Condenser microphones are more likely to be seen in theaters because they have an extremely versatile range. These microphones are quite special because they need 48-volt phantom power. On most mixers, the sound person must switch on phantom power to the assigned microphone. There are various styles of microphones because a handheld mic may not appeal to everyone. A lav or lavalier mic is very small and can be placed on a person’s shirt or in a person’s wig/hairline. Contact pickups are similar to microphones and are attached to instruments to pick up the sound through its vibrations. Pressure-response microphones are also used for instruments. They are mounted on a flat surface with an attached plate that increases gain.<br />
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Impedance of a microphone refers to the amount of resistance a microphone has to an audio signal. The lower the impedance, the less issues a microphone may have when using a longer cable and dealing with noise interference. Typically a lower impedance means a better-quality microphone, therefore a perfect choice for theater.<br />
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Gain deals with the amplification of a microphone through a sound system. If set up properly, meaning the system, microphones, and speakers, gain can be maximized. Handheld microphones have more latitude when it comes to gain versus its wireless counterpart. However, as the technology has gotten better, lavalier microphones have gotten smaller and better, but at a very high financial cost. Lav mics can be seen almost everywhere such as in theaters and on television news shows. The loop is sized for the person’s ear and a piece of tape is placed on their cheekbone and behind their ear. The pack is the hidden in the shirt making sure the person has enough neck room to not pull the mic off. <br />
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Area micing is a technique used for large bands or choirs. An array of floor microphones is placed on the ground and the board operator increases or decreases the gain as needed. For this, it is better to use an odd number of microphones which will provide the most options of which microphones to use at any given time. (Carver 364-368)<br />
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====Mixing Consoles====<br />
{{Infobox<br />
|bodystyle = width:25em<br />
|image = [[File:Mix.jpg|320px|alt=Image ]]<br />
|label2 = '''Description'''<br />
|data2 = Digital Mixing Console (WIKI Commons)<br />
}} <br />
All consoles work on the same concept. They take inputs, process the signal via equalizing, delays and reverberation, and transfer the audio to outputs. Each console is different with a given number of inputs and outputs as well as limits to the types of adjustments one may make to the audio signal. There are two types of consoles, analog and digital. Analog boards come in a range of sizes. Examples include the Mackie 1402VLZ4 14-Channel Compact Mixer and the GL4000. The drawback of these boards is that there are no equalizers, delays, or special effects, which are available on digital boards. Digital boards are the newest in sound engineering technology and are continually being developed. Digital consoles can be more flexible. Some digital boards have mobile device applications that allow a person to control the board from the stage instead of from front of house making equalizing easier and faster. (Carver 370)<br />
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====Speakers and Headsets====<br />
There are four types of speakers: tweeters, midrange, woofers, and subwoofers. Tweeters are meant for producing sound in the high-frequency range. Midrange speakers are designed to reproduce sound at midrange frequencies. Woofers are for low frequencies and subwoofers are to produce sounds at very low frequencies. Subwoofers are usually the speakers that make the floor shake at a dance party. Line arrays are groups of speakers that are hung vertically or horizontally. They have a very narrow spread of sound per speaker. Wedges or monitors are used by most musicians and vocalists so they can hear themselves throughout the performance. Selected sounds are mixed through the soundboards and then output through each wedge. Positioning the speakers is key because some speakers only have 90-degree dispersion. <ref>Mellor, N. (2017). Speaker Off Axis: Dispersion Specifications and Off-Axis Response Plots - Acoustic Frontiers. Acoustic Frontiers. Retrieved 18 June 2017, from http://www.acousticfrontiers.com/dispersion-specifications-and-off-axis-response-plots/</ref>The best positioning for these speakers is in pairs facing the corners of the space diagonal to them. <br />
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Headsets are used for stage managers and other run crew to know what is going on. They allow communication between the groups. Different groups can be on different channels like handheld radios. Clear-com is the most popular and is easily setup using XLR to the control box. It comes in wired and wireless versions. (Carver 371-377)<br />
<ref>Carver, Rita Kogler. Stagecraft Fundamentals. 1st ed. Boston: Focal, 2009. Print.</ref><br />
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==Costumes==<br />
=== History and Method ===<br />
Costumes are very important in transforming an actor into the character they are playing. Costumes are also used to set the scene of the play. For example, Victorian Era costumes will make the show appear to be set in the Victorian Era. Costumes have been used since the ancient Greeks and Romans. Greek theater was a sacred place and often sacrifices were made on the altar in the center of the stage before the show. A show would take place once a year on a day of celebration of the god worshiped in the temple. According to the Greek culture, the god would be present the whole day of the show and the performance was considered a sacred duty which was paid for by the wealthy. In order to act in the play, the actors had to be totally pure for they were channeling their character. Actors would use a staff and wear a wreath to convey this. The actors would wear red ornamental cloaks and stone masks that belonged to the treasure or the sanctuary, these were early [[Theater in London#Props| props]] (Stricker, 1955) (Bieber, 1971)<ref> Stricker, B. (1955). The Origin of the Greek Theatre. The Journal of Egyptian Archaeology,41, 34-47. doi:10.2307/3855235</ref>. <ref>Bieber, M. (1971). The History of the Greek and Roman theater. Princeton: Princeton University Press. </ref> Not only did the actors have to be in a state of purity, only the clean and pure public could attend this performance. They too would wear decorative cloaks and wreaths to celebrate the sacred day. Costumes were very important to conveying the story due to the fact that it would reveal the gender and social status of the character. Costumes in the Roman theater overlapped quite a bit int that a cloak’s color denoted the status and sex or the character. They also wore masks. During the Elizabethan Era, clothing played a significant part to one's status in society. There were many laws dictating what a person could wear, so many plays had their actors wear clothes of the vernacular for the character. Therefore, the actors of queens and kings wore costumes that reflected that status and those of less important roles wore their own clothing. For plays that took place during the Roman and ancient Greek eras, actors wore togas over their normal clothes. Since costumes were very expensive, many companies reused old costumes (Costumes and Cosmetics, 2013, p. 1) . <ref> Costumes and Cosmetics. (2013) (1st ed.). London. Retrieved from https://www.shakespearesglobe.com/uploads/files/2014/01/costumes_cosmetics.pdf</ref><br> <br><br />
[[File: times-square-1457783_640.jpg|x250px|right|frameless|thumb| Major NY Shows]]<br />
Today costumes are designed by costume designers, who work closely with the director to make the director’s vision come to fruition. They often need to do a lot of research into who the character is and what time period he or she comes from. This research creates an authenticity to the character. A character wearing a crop top and a pair of short shorts would not be taken for women of status in the Victorian Era. The costume creates the character and that costume is iconic. Who would Glinda from "Wicked" be without her extravagant happy dresses? The costumes are more than just the clothing the actors are wearing. They include the shoes and accessories that are paired with the outfit. Costumes are meant to be used as an extension of the actor, which means that if two characters are polar opposites, their outfits will be totally different. It adds to the depth of the character. The costume designer then creates sketches of their proposed idea to share with the director. These costumes are then either approved or sent back with critiques. After the costume designs are approved, there is a lot of work to be done (Nusim, 2017) (Landis, 2014). <ref> Nusim, R. (2017). Character by Design (1st ed.). ACADEMY OF MOTION PICTURE ARTS AND SCIENCES. Retrieved from https://www.oscars.org/sites/oscars/files/costumes_and_makeup_activites_guide.pdf </ref><ref> Landis, D. (2014). COSTUME DESIGN DEFINING CHARACTER (1st ed.). The Oscars. Retrieved from https://www.oscars.org/sites/oscars/files/teachersguide-costumedesign-2015.pdf</ref><br />
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===Fabrics===<br />
[[File: towel-1838210_640.jpg|x250px|right|frameless|thumb| Different Fabrics]]<br />
Costumes come in many different shapes, sizes, and fabrics. This is one of the first things a designer has to think about when designing a costume. The material can affect the character’s movement, the actor’s comfort, the time period, and so much more. Fabric choice comes with much consideration and it is very difficult to choose with so many different fabric choices. One of the first fabrics of choice is wool. It is a fabric known for its warmth and itchiness, which is made from a variety of sheep furs. Even though many find wool to be itchy, wool comes in a variety of different types and not all of them are itchy. The fabric is very spongy and an insulator, but the reason many like wool is its ability to absorb up to 30 percent of its weight in water and not feel wet. Along with its water holding ability, wool is also dirt, tear, and flame resistant. This fabric may be worn by a character who is a sheep farmer in Ireland. Another natural and widely used fabric is cotton. It is a light, cool, and soft material that is used often. Cotton comes from the cotton plant and is stronger wet than dry. It can withstand high temperatures and is more breathable than wool. Silk is another fabric used in theater. It is a natural fiber that is spun by silkworms and is considered a fabric of wealth and success. Silk absorbs moisture in the summer and is warm in the winter, which makes it perfect to wear on stage. Due to its ability to retain moisture, silk is easily dyed and shapes well to a person’s body. Linen, not to be confused with cotton, is another widely used fabric. It is produced from the fiber of the flax stalk and is two to three times stronger than cotton. Linen has a unique luster that comes from its inherent nature and is easily dyed. Other fabrics that are synthetic and likewise also cheaper include polyester, rayon, acetate, and nylon. They have many of the same characteristics of natural fabrics, but they are less natural and prone to wrinkle, stain, and shrinkage (Caver, 2012, p. 306- 309).<ref>Carver, Rita Kogler. Stagecraft Fundamentals Second Edition: A Guide And Reference For Theatrical Production. 2nd ed. Burlington, MA and Jordan Hill, Oxford, UK: Focal Press, 2012. Print. </ref><br />
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===Tools, Accessories, and Sewing === <br />
Once the fabric of the costume is chosen, the fabric(s) has to be put together by sewing or other methods. In order for the fabric to be transformed into a costume, the seamstress must be familiar with the tools necessary to create a costume. Tools such as measuring tapes and patterns assist the costume designers to accurately take the measurements of the actor or actress. Once the measurements for the garment are determined, the designer will start working with either a pre-existing pattern or creating a pattern from scratch. A pattern is a template on which a garment can be cut from to form the specific shape desired. They are often made of paper and traced onto the fabric. To create new patterns, patterns may be combined or a sloper tool can be used. Sloper tools provide generic shapes that can be modified to form a new pattern. After a pattern is created, it is pinned to the fabric and then cut by sewing scissors. These scissors can cut fabrics fast with their adjustability and are therefore more expensive than arts and craft scissors. The next step of the process is sewing the pieces together, which can be done with different types of thread that have as great a range as fabrics do. The chosen thread needs to have similar properties to the fabric. To make the costumes unique and complete, accessories such as belts, buttons, and zippers are added. They can change a one-dimensional costume into one fit for a king or queen, but these accessories must be kept organized in order for them to be found in a timely fashion. Some other important tools are seam rippers, which can cut a seam when a stitch needs to be undone without damaging the fabric, and tailor’s chalk, which is used make marks on fabric. (Caver, 2012, p. 309- 317). Finally, after all of these steps have been completed, the fabric can be sewn together to create the costume. Most costumes are sewn by sewing machines, with intricate details sewn by hand. Some of the stitches sewn are quite easy, however many are difficult and require much skill. One commonly used stitch is the overlocking stitch. It is used to combine two edges of the fabric to create a hem on the inside that appears seamless when flipped inside out. The overlocking stitch is considered to be very versatile with it being used for everything from decoration to reinforcement to the construction of a fabric. Once the costumes are completely sewn they are then fit to the actor or actress to ensure a total fit. Interestingly, more complex costumes are initially made of muslin, a very inexpensive fabric, and are fitted to the actor so that the exact measurements can be used during the construction of the real costume. The creation of a costume is a multifaceted process that takes a design from paper to real life. It is difficult, but costumes are essential to a show for they aid the viewer in imagining and fitting the actors or actresses into the roles they play (Caver, 2012, p. 323- 334) <ref> Carver, Rita Kogler. Stagecraft Fundamentals Second Edition: A Guide And Reference For Theatrical Production. 2nd ed. Burlington, MA and Jordan Hill, Oxford, UK: Focal Press, 2012. Print.</ref>.<br />
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===Types=== <br />
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Costumes have come a long way from dresses, togas, and suits. As culture has invited new and exciting shows to the theater, costumes have had to change with the culture. Today’s theater productions have definitely proven to be a challenge for costume designers. There is now a myriad of shows of different time periods, themes, and ethnicities, which can be seen by the 2017 Tony nominees and shows that are currently popular. A prime example would be the Tony-winning "Natasha, Pierre & The Great Comet of 1812", which is an excerpt from Leo Tolstoy’s "War and Peace" about the affair of Natasha with Anatole and Pierre’s existential search for meaning <ref> S. (n.d.). The Great Comet - Official Broadway Site. Retrieved June 13, 2017, from http://greatcometbroadway.com/</ref>. Natasha is a charismatic young Russian woman of status engaged to marry her beloved fiancé Andrey, but while he is away at war she is sent to live with a godmother where she is seduced by an unknowingly married man. Natasha’s costume is white for innocence and is fitting of women of status in Russian during the early 1900’s. All of the costumes are a mixture of timepieces with modern clothing. This can add the idea that "War and Peace" is not just a very long novel with little to do with society today. Natasha’s story is a timeless tale of love, lies, and scandal, so the costumes must accent the characteristics of the characters and make them believable. Another Tony Award-winning show that has a completely different costume design is "The Lion King". "The Lion King" is a very different show about finding one's identity and is loosely based on Hamlet. This is a very difficult show to design for because the characters are animals. It is very hard to mimic the movement of an animal, so the designers worked to make costumes move with the movement of the actors and dancers. They utilized both masks and puppetry to create the movement of many of the animals. Timon and Pumbaa are life-size puppets that are connected to the actors. These shows show the great range of costumes that exist today in theater and the different styles and techniques used. <br />
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===Current Practices===<br />
Tours of the [[National Theater]], [[Royal Opera House]], and Royal Shakespeare Company gave insight into how costumes are currently dealt with. The trend is that the costumes department is divided into sub-departments. These subdepartments take care of creating the costumes, caring for the costumes during their show's run and managing them after the show has finished. During a production, the costumes must be cleaned after performances to keep them in good condition for the actors. This is especially important when a costume is dirtied during the performance. If the character gets a blood stain during the show, it cannot be there at the start of the next performance. In addition, any damage such as a tear in a costume must be repaired. After a show, the costumes are typically labeled with the name of the show they were from, the actor who wore it and the character they played. These costumes are organized and stored in the theater company's costume shop. The costumes can be rented by theater companies, film companies such as the BBC and sometimes the public for use. This enables more money to be earned back from the costs of the show. The Royal Shakespeare Company occasionally has auctions that are open to the public where the costumes are sold off for under £75.<br />
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== Hair and Makeup==<br />
===History and Design ===<br />
Makeup was not used in Greek and Roman theater due to the fact that the masks that they wore were designed to portray the emotions and character traits the characters had. (ref) It was not until the time of Queen Elizabeth that makeup was frequently used. The makeup of the actors was very important due to the fact that not only did it create the character, it also disguised their identity as a man. The actors were painted with white face makeup that sometimes consisted of a mixture of vinegar and white lead, “ceruse”, which was highly poisonous. The white was important because it represented the faces of the rich and royal due to the fact that they did not have to go outside to work. The standard for beauty was a pale white complexion, bright red cheeks and lips, kohl lined eyes, and a blond wig. This would usually be put on a young boy when he was transformed into the character of a beautiful young woman. To make characters shimmer, like characters in Shakespeare’s “A Midsummer Night’s Dream”, crushed pearls and silver would be applied to their makeup (Costumes and Cosmetics, 2013, p. 2) <ref> Costumes and Cosmetics. (2017) (1st ed.). London. Retrieved from https://www.shakespearesglobe.com/uploads/files/2014/01/costumes_cosmetics.pdf </ref>. Modern stage makeup did not really appear until the 1920’s and 1930’s and was started by Max Factor. Max Factor was the person who coined the term makeup and his son was credited with many innovations in makeup. They started the lip gloss, cake makeup, pan-stick makeup, the original cover-up makeup, and the first waterproof makeup (Carver, 2012, p. 339) <ref> Carver, Rita Kogler. Stagecraft Fundamentals Second Edition: A Guide And Reference For Theatrical Production. 2nd ed. Burlington, MA and Jordan Hill, Oxford, UK: Focal Press, 2012. Print. </ref>. Today stage makeup is created by many companies and comes in a variety of different shapes and sizes. They are used in a myriad of different techniques to achieve looks that portray different time periods, people and in some cases animals. The makeup signifies the character’s health, age, and liveliness and also adds to his or her illusion. Together the costume designer and hair and makeup designer work together to flush out and create a cohesive look for the character they are creating. With enough makeup, one can create themselves into a person they are not. An actor can be given an older, younger, sicker, healthier, prettier, plainer, or clearer look. People tend to go heavier on makeup when doing stage makeup than everyday makeup due to the fact that stage lights wash out a normal skin color making it much lighter (almost sheet white). This makes it hard for viewers at a distance to see the fine details of the makeup. To have an effective makeup design, the makeup must project the character to the audience (Gillette, 1999, p. 432-434) <ref> Gillette, J. M. (1999). Theatrical design and production: an introduction to scene design and construction, lighting, sound, costume, and makeup. New York, NY: McGraw-Hill. </ref> <br><br />
When designing makeup, one must keep in mind that they are changing the actor into the character. They have to do a great deal of research to get the character right because it is easy to spot what character is out of place. It was said by Richard Corson that the “makeup suggests genetics, environment, health, disfigurements, fashion, age and personality” (Gillette, 1999, p. 432) of the character. Therefore, it is important to accurately represent the character through their makeup. Makeup can also indicate if a person has been exposed to the elements based on the skin’s color and texture. One can also see if the character has deformities, both accidentally and genetically, which add to the personality of the character quite a bit. A rule of thumb for eccentric makeup is that if the character is eccentric then make it eccentric, if not then stick to the time period. When creating characters of different ages, younger skin tends to have better color with a firmer feel and older skin has a looser feel with less color and more wrinkles. The personality of a character is also portrayed in the makeup with a happier person having smile lines and a grumpier person having a perpetual frown. These are all good things to keep in mind when doing the makeup design and aid in achieving the look that is trying to be accomplished (Gillette, 1999, p. 432-434). <br><br><br />
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===Facial shapes===<br />
Facial shapes have great importance when doing makeup due to the fact that faces are always balanced. Therefore, the makeup must be balanced with the face as well. Faces come in in six different classes of shapes, which are pear, oval, heart, long, round, and square. Depending on one’s facial shape, makeup should be applied differently to highlight its features. Oval faces are considered to be perfectly symmetrical due to the fact that it is wide at the cheekbones and slopes down to a more pointed chin. The heart shaped face is much more different due to the fact that the top of the face is more rounded and then it has a more pointed or triangle shaped chin. It is also known as a triangle face shape. A pear-shaped face is much like a pear. It has a smaller forehead with a gradually larger face down to a wide chin. The square facial shape is the most common face shape. It has more of an oblong shape until the chin, where it’s more like a tilted right angle. A round face shape is very similar to an upside down pear shape face, but the chin is more rounded. The last face shape is the long face shape which is like an elongated oval face shape with higher cheekbones. The face shapes of the actors are necessary for a makeup designer to know when designing a character's makeup as it determines what parts of the face gets highlighted or shadowed. It‘s also important to know other faces when changing a person’s face shape to fit a character (Carver, 2012, p. 340). <ref> Carver, Rita Kogler. Stagecraft Fundamentals Second Edition: A Guide And Reference For Theatrical Production. 2nd ed. Burlington, MA and Jordan Hill, Oxford, UK: Focal Press, 2012. Print. </ref>. <br> [[File: face.JPG|x250px|center|frameless|thumb| |caption = Various Face Shapes (Carver, 2012, p.340 FIG.13.1)]] Various Face Shapes (Carver, 2012, p.340 FIG.13.1) <br><br><br />
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===Tools=== <br />
Makeup tools are very important to creating a character’s look due to the fact that they are what is used to transform the actor's face into the character's face. Makeup artists utilize brushes of different sizes, shapes, thicknesses, and styles. They all have a purpose and a designer will have many. Flat brushes are very good for blending colors together due to the fact it gives you a great amount of control when adding and removing pigment. An angle brush is really important for doing eye shadows and precise lines near or around the eye. Dome brushes are really good for blending and applying concealer under a person’s eyes whereas round brushes are good for eyeshadow and brows. There are detail brushes and powder brushes which add small details and blend well. Foundation brushes are used to apply and smooth foundation, which covers the majority of the face. The last brush to be covered is the contour brush. This brush is used to highlight and shadow the face so the person looks like they have higher cheek bones. It is also used to reconstruct the face to the right face shape. It is apparent that there are many brushes with different purposes and different artists have different uses for any given brush. They are all correct though! People have different uses for different brushes. Brushes are not the only tool that makeup artists use. Artists use spatulas to apply scar wax and thicker products, which is mixed with a plastic palette. A powder puff is usually used to apply powder or blot. Different types of sponges are used to blend and apply crème makeup. As a rule of thumb, the more porous the sponge the more texture is going to be applied to the skin. These are just some of the tools makeup artists use and there is much more to explore. (Carver, 2012, p. 341- 343) <ref> Carver, Rita Kogler. Stagecraft Fundamentals Second Edition: A Guide And Reference For Theatrical Production. 2nd ed. Burlington, MA and Jordan Hill, Oxford, UK: Focal Press, 2012. Print. </ref>. <br><br><br />
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=== Types of Makeup===<br />
====Cake Makeup==== <br />
This is the most commonly used type of makeup and it comes in both dry and moist compacts of pigment. They come in a variety of colors and shades matching every skin color. Cake makeup additionally comes in a variety of highlights and shadows to contour the actor’s face. To apply this makeup, artists moisten a makeup sponge or brush and then wipe it across the cake. It is then applied to the face. However, if the sponge is not wet enough the makeup won’t apply. If the sponge is too wet, the makeup will be too opaque. An actor should have a clean face when this is being applied. Usually, the highlights and shadow are applied over the foundation, but to get a more muted effect it can be placed under the foundation. Cake makeup does not need setting powder to prevent the makeup from smudging and sweating off (Gillette, 1999, p. 436-437). <br><br />
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==== Crème Makeup====<br />
Crème makeup is a non-greasy makeup that is often applied with a sponge, brush, or fingers. Unlike cake makeup, crème makeup does not require a damp tool. It can be used with cake makeup, but it does require setting powder. For easier usage, this makeup comes in sticks and crayons (Gillette, 1999, p. 437-438).<br><br />
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==== Liquid Makeup ====<br />
This makeup is not usually used for the face, but for the body. The use of a name brand theater makeup is not necessary because store bought types work just as well. One drawback of this makeup is that it dries more quickly than other makeups, which makes it difficult to blend when more than one color is used (Gillette, 1999, p. 439). <br><br />
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==== Dry Makeup ==== <br />
Dry makeup is classified as makeup that is dry when applied. This makeup is not usually used as a standalone makeup. It is usually used in conjunction with greasepaint and cake makeup. A common dry makeup is face powder, which is used to set a face. Though, if in a pinch, it can be used as a quick foundation. Any excess is dusted off with a fluffy brush (Gillette, 1999, p. 439). <br><br />
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==== Greasepaint ====<br />
Greasepaint was the first form of makeup before good quality crème and cake makeups were created. It was originally the most commonly used face makeup. It is quite translucent and available in a multitude of colors. It is applied with the fingertips and stippled to create a multidimensional layered effect, however, each layer needs to be set with setting powder. It clogs the pores and makes the person sweat even more than normal when under the bright lights of a stage (Gillette, 1999, p. 439). <br />
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<gallery mode="packed"><br />
Image:makeup-brush-1746322_640.jpg|''Brushes''<br />
Image:creme.JPG|'' Ben Nye crème foundations (Carver, 2012, p.340 FIG.13.9)''<br />
Image:cosmetics-259181_640.jpg|''Highlighter and Brushes''<br />
</gallery><br />
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===Application technique===<br />
==== Highlights and shadowing====<br />
To create a multidimensional look, makeup artists take advantage of shadowing and highlights. They are used to make a person look older, younger, sicker, or healthier. Contrasting colors, such as brown and bright ivory, are used to draw attention to one part of the face while reducing attention on another part. One can create harsh angles by making harsh lines and smooth harsh lines by blending lighter colors (Gillette, 1999, p. 440-441). <br><br />
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==== Stippling ====<br />
Stippling is the act of dabbing or patting makeup rather than stroking it on the face. It is often done using a brush or sponge and it roughens the texture of the skin. The appearance of larger pores are produced by a larger pored sponge and can also be used to create the look of acne. To create a more natural look two or more colors are stippled together. If a shadow or highlight is too heavy it can be stippled with a base to create a natural look (Gillette, 1999, p. 442). <br />
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{{Infobox<br />
|title = Power of Makeup<br />
|bodystyle = width:20em<br />
|image = [[File:nvo.JPG|x450px|alt=Milestone Image]]<br />
|label1= Thanks to<br />
|data1= [[User:Nbloniarz|Natalie Bloniarz]]<br />
}}<br />
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===Special Makeup ===<br />
Sometimes an actor does not have the same exact features of the character they are playing. When this is the case, products such as nose putty, derma wax, latex, and prosthetics are used to modify the actor's features and achieve the character's appearance. Not everyone has a crooked nose or a facial scar so makeup artists must get creative when a character does have an irregular feature. Nose putty is used to give a different shape to the actor’s nose, chin, or other inflexible facial feature. The putty is shaped onto the face of the actor and is glued onto the skin with spirit gum to create more security. It is then painted with makeup to match the skin tone and stippled to give texture. Derma wax is similar to nose putty but is does not adhere as well so spirit gum is absolutely necessary for adhesion to the face. It is more easily molded and adding cotton adds to its structure. It is painted similarly to nose putty. Latex is one of the more used special effects because it can be used to make bald caps, eyebrow masks, and wrinkles. However, the drawbacks of latex include that it is difficult to remove and, if applied to hair, the hair must be shaved off and people can be allergic to latex. Latex does create a nice smooth layer that can be built up with makeup though. When creating these parts are too much, prosthetic noses, chins, and others pre-made features can be purchased. They are sometimes needed to complete the look (Gillette, 1999, p. 443-50). <br><br><br />
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===Hair=== <br />
Hair styling finishes off a character's appearance. Often use wigs are used to achieve the character's hair, but sometimes the actor’s actual hair is styled too. The hair style must match the style and length of the time period to create a believable and authentic character. The hair can be dyed, curled or braided to match the time period. If the character is a flapper from the 1920’s then she would have a bobbed hairstyle and a man of the same time would have a slicked back middle part. It takes a lot of research and time to create the perfect look for the character’s hair. <br><br><br />
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==Poster & Promotion==<br />
Theater advertising is an often neglected area of study but critical to putting on a show. After all, there is no show without an audience to see it. The promotional methods were influenced by the technology of the time. During the Middle Ages, the most effective advertising was word of mouth. The performers and town criers would announce performances to the town. Additionally, the sound of drums and trumpets were used to indicate a performance. Descriptions of the show were also written out, given to people and attached to posts in the town. This led to the name poster. At the time of early theater in London, printers started to be given licenses to print playbills or posters for shows. These were handed out to people. In addition, there would be a drum procession through town and a flag raised at the theater to indicate a show. Just before a performance, a trumpet would sound three times. As printing technologies improved over time, so did the posters. Actors also started to expect their names to appear on these posters. Circuses led a new development for these posters. They introduced using illustrations as it was a natural way to promote with all the animals present. Introducing images to posters created new appeal and draw for those who were illiterate. The next advancement was the introduction of color to the illustrations. The posters became an art form. They started creating larger advertisements created by printing the design across many pages and posting them all up together in the proper configuration, like a puzzle. Posters grew so important that stock posters were developed for popular shows. The quality of the posters improved as the technology did but experienced little improvement during the World Wars. The Pop Art movement brought life back to the posters. Advertisers started bringing in television stars to create more draw. Posters would feature iconic images that could also be used for marketing. While posters are not as important as they once were, they are still a key part of advertising for performances. <ref>Theatre posters. Retrieved from http://www.vam.ac.uk/content/articles/t/theatre-posters/</ref> Walking around London, posters for the current shows are hung everywhere. They line the underground stations. The West End also serves as its own advertising. Walking through the area, the buildings are plastered with billboards and posters displaying what is showing. There is also a free guide that is distributed called the Official London Theatre Guide which began in 1922. It contains information on all of the upcoming shows as well as theater and tourist information. E-marketing is also important. Online advertisements can create a draw. Subscribers may receive notification emails about shows and offers as well as an e-newsletter. After all this time though, word of mouth still remains powerful. The hype created for shows such as "Wicked", "The Lion King", and especially "Hamilton" right now, draw in audiences and create high demand for shows.<br />
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=Section 2: Our interpretation of The Play that Goes Wrong =<br />
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''The Play that Goes Wrong'' is a hilarious play that follows a production group attempting to put on a play called ''Murder at Haversham Manor'', a 1920's murder mystery. However, Cornley Polytechnic Drama, the group putting on the murder mystery, has had a difficult time with prior shows, so the expectations are set pretty low for the play they are producing now. Due to the fact that this a play inside of a play the stage tech are seen scrambling to fix things and become part of the actors. The stage tech also interacts with the audience the whole time giving the feeling that you are watching the ''Murder at Haversham Manor'' and all of the mess ups that an unprofessional and accident prone theater may face. For our deliverable, we explored the scenic, lighting, sound, costume, makeup, and promotional aspects that went into the performance we saw on "The Play That Goes Wrong" and created our own interpretations of how to put on the show in regards to each department. These interpretations are largely based on what we saw at the performance, what worked and what we felt could be improved as well as the research we did in our background.<br />
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==Scenic==<br />
[[File:Stage Right- sm- JR.JPG|thumb|right|x500px]]<br />
Designing the set for "The Play That Goes Wrong" is a unique process because it is a play within a play. As the designer for "A Play That Goes Wrong" the overall set design must be considered. However, the show is a performance of an amateur theater company attempting to perform a show. Therefore, to establish the set on the visual level, the designer must act as the designer for that company. The set must be designed to look like it was designed for the murder mystery show. Furthermore, it must reflect the styles and resources of the amateur theater group. Therefore, the set would appear to be low budget and not a refined, high quality. For this part of the design, I am basing the set on the board game Clue as it is a classic example of a murder mystery that many people can recognize. Once the basic visual design of the set is established based on the murder mystery play, design considerations for "The Play That Goes Wrong" must be looked at. This includes all of the special effects that are used to make it look like the murder mystery play is going terribly wrong. The most important tool we will be using is electromagnets. Throughout the show, the set literally falls apart. Wall hangings fall down, the second story floor collapses and the walls themselves fall down. We plan to achieve these effects through the use of electromagnets that can be turned on and off. When, for example, a wall decoration should be hanging, the magnet will be turned on. When it is time for the decoration to fall, the magnet can simply be turned off. This enables simple, on-demand control of the set failures. From a booth, the magnets can be switched on and off and perhaps even integrated into the cue system. When the second story floor collapses, the fall is controlled by mechanics behind the set. The platform is supported by cantilevered beams. Backstage, these beams are held up in a system that lets them pivot and lock into place in several positions. The beams begin the show horizontal. When the floor first fails, the position can be released, and drop in a controlled manner through the use of a motor, into the next position it can lock into. This can be repeated as the platform continues to fall. In addition, the show makes use of a bit of pyrotechnics when the garbage bin catches fire. This would be the responsibility of specialists as fire is a safety hazard.<br><br />
Actually designing the set in Solidworks proved to be a good lesson in the difficulties of set design. In the model, it becomes very apparent how tricky it is to make sure every seat has a good view of the set. The proscenium arch itself quickly blocks out the view of the audience as they start to move off to either side. This requires the set to be further forward on the stage to improve visibility. Secondly, designing the side walls of the room quickly turned into an issue. In order to improve visibility, I turned the left wall out towards the audience. Instead of a 90 degree with the back wall, it is at an 118-degree angle. However, I realized the same could not be done with the other wall. This is because the floor of the second level has to be able to swing down but, if it is made with an angle greater than 90 degrees, it will not have clearance on the side. In addition, the same problem of visibility would occur that I sought to eliminate on the other side. That is also ignoring the fact that having one side turned out but not the other would create a very oddly shaped room. It is at this point that I revisited the original set. My set had already been based on it a bit, as the story line and set were closely related meaning that the set couldn't be changed too much and still have the lines and action work. The set pieces had to be able to fail certain ways in order to fit with the story. When I looked at the set again I realized how the designer played with perspective. The back wall was actually split into sections that enabled them to bend it so each side wall could be angled out without the back wall seeming warped. Therefore, set design is not nearly as simple as creating an image in your head of the scene and putting it on the stage. In the rendering of my simplified set, some of my ideas for modification to the original set can be seen. First of all, while the rendering does not contain all the details, the concept is still for the set to be less elegant than the original set. This fits with the theme that the theater company within the show is low budget and amateur. Secondly, the furniture and color scheme were inspired by the board game Clue. In particular, the couch was designed after couches seen on the board game in the lounge and study. The wall color was also based on the game and the light color is meant to keep the area appearing open and large as light colors make spaces seem larger.<br />
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==Props==<br />
The props are very important to the show due to the fact that they add to the humor of the play within the play. The play itself is called ''The Play That Goes Wrong'' and that's what is shown to the audience. The missteps and malfunctions of the Cornley Polytechnic Drama group that go horribly wayward are captured. Below are some of the important props that make the show a comedic success. <br />
{{Infobox<br />
|title = collie<br />
|bodystyle = width:25em<br />
|image = [[File:dog-2286773_1280.png|x450px|alt=Milestone Image]]<br />
|label1= Painting prop<br />
|data1= royalty free image <br />
}}<br />
=== Picture of the Collie ===<br />
It may seem like an odd prop, but this picture is very important to some of the humor of the play. During the show, characters are interviewed by Inspector Carter to determine who killed Charles Haversham. When Cecil Haversham, the brother of the late Charles Haversham, is interviewed by Inspector Carter, the inspector looks at the picture above the broken mantel and asks if the picture of the dog is a portrait of the father. It is obvious that the wrong picture was put up during the set decoration and it shows how the production company producing the show is not at all organized. The conversation progresses and the detective asks if the recently departed Charles was the spitting image of his father, again depicted by the picture of the dog. I choose a picture of a silly looking dog to add to the funniness of the situation and allow the audience to try to picture the actor as a dopey looking dog. If I could get a picture made, I would have the dog holding a whiskey glass and playing cards. The prop has a magnet on it which keeps it attached to the wall and when the door gets shut at the end of the act all of the stuff hanging on the walls falls off by the disengagement of the magnets. This adds to the dysfunction of the show and makes everyone laugh. <br />
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{{Infobox<br />
|title = "white spirit"<br />
|bodystyle = width:12em<br />
|image = [[File:glass-565914_640.jpg|x450px|alt=Milestone Image]]<br />
|label1= Drinkable prop<br />
|data1= royalty free image<br />
}}<br />
=== White Spirit and Whiskey bottles ===<br />
Fake alcohol is often used in theater to liven the mood and add to the plot. As said earlier, props can be something that is edible or drinkable on stage, so the “liquor” does count under the umbrella term of props. During the show, after Charles Haversham’s death, the characters decide to grab some of Charles’s whiskey to calm down. The lines say that the first bottle grabbed is empty but the actor grabs the full bottle so he pours it out. Then when the character grabs the bottle that is supposed to be full it is the empty bottle previously looked for. It is obvious that when the two bottles were placed they were switched or the actor got the bottles from the wrong places. Either way, the scene shows the cast and the production company’s incompetence. The murder mystery inside of the show is just so bad it’s funny. The next problem is that there is no liquor for the cast to drink during the following scene. Instead, the stage manager hands out a few glasses with a bottle of unknown “white spirit” that looks like some cleaning detergent. When the actors are forced to take a drink they all spit it out because of it, of course, tastes terrible. For these props, I will have two generic whiskey bottles, one full of a brownish liquid and one empty. For the “white spirit” handed to the actors as an alternative, I will have a glass bottle with a do not drink sign on it to make sure that the audience understands the mistake and why the actors are spitting the liquid out. <br><br />
{{Infobox<br />
|title = vintage couch<br />
|bodystyle = width:12em<br />
|image = [[File:couch-1952918_640.png|x450px|alt=Milestone Image]]<br />
|label1= Furniture props<br />
|data1= royalty free image<br />
}}<br />
=== Couch ===<br />
The couch is another classic piece of furniture used on the stage. The show takes place during an engagement party on a cold December night during the 1920’s. Therefore, the couch is in the style of that time period. The couch is at the center of the stage and it the center of the drama due to the fact that is where Charles Haversham’s body is found. There is nothing really special about the couch other than having collapsing legs. For the set, I would have a couch that looks like it’s from that time period and has it placed in the center of the stage to attract attention to it. <br />
<br><br />
{{Infobox<br />
|title = stretcher<br />
|bodystyle = width:25em<br />
|image = [[File:vintage-1636373_640.jpg|x450px|alt=Milestone Image]]<br />
|label1= Illusion Prop<br />
|data1= royalty free image<br />
}}<br />
=== Stretcher ===<br />
A stretcher is another weird prop to find on stage, but props are meant to have attention drawn to them. During the show, the stretcher is used to lift away the dead body, but this stretcher is from the 1920’s. It is basically two long horizontal poles with canvas that is sewn with holes to put the poles through. The funny part of the show is that, when the actors are trying to pick up the body, the two poles rip from the canvas leaving the body and the rest of the canvas under the body. The “dead” body Charles then grabs the poles with his arms and legs to be carried off the stage. It is really funny due to that fact that no matter what the actors do, nothing goes right. To create the stretcher, I would take two seven foot wooden poles and sew the canvas to fit around the poles with enough room to cradle a body inside. I would then have the base Velcroed so that it would imitate ripping when the body is lifted. <br />
<br> <br><br />
<br />
==Lighting==<br />
<br><br />
[[File:Lighting_The_Play_that_Goes_Wrong.jpg|500px|alt=Image ]]<br />
<br />
<br><br />
The lighting design for ''The Play that Goes Wrong '' is used to add to the comic timing and the absurdity of the play. As previously stated, the show is performed by an amateur theater company who has had several attempts at performing shows such as "Cats" and "James and the Peach" with each show resulting in failure. They are determined to make this show called, ''Murder at Haversham Manor'' a success. The wash for this play remains constant throughout the entire play and there are some attempts to make the lightning fancier with spotlights and flashes of red for dramatic effect. The stage is a stage on a stage, which sounds confusing. The diagram above displays what the stage looks like with the lights and their position on the batons and side mounting infrastructure. The scene of the play does not change and takes place in a living room and study on a cold winter's night as well as behind the set.<br />
<br />
<br><br />
Starting with the lights that are between the fake backstage and backstage, our plan is to use PAR 64 strip lights with ROSCO 81 Urban Blue with Diffuser. The Urban Blue color is a great color to imitate a very cold, brittle scene. There is a diffuser to dampen the coolness and imitate an amateur lighting designer's attempt at making the set cool. These lights will be shining straight downward creating the cool winter scene. For the wash, backwash and side wash, we will use the Source 4 PARNel WFL, the Source 4 PAR MFL and Chauvet LED PAR 64 fixtures. The WFL is to light the wide stage, but because they are to have a wide dispersion of light, the color will be lacking in color intensity. The MFL is also to light the stage; it will have a greater color intensity, but will only have a throw distance of the front of the stage. There will be ROSCO 02 Bastard Amber and ROSCO 4830 CC 30 Pink gels in the fixtures since these colors are excellent on every skin tone and create a happy, warm tone. We have several fixtures meant for spotlighting actors; the Q500NSP (PAR 56 NSP) and ETC 405 (5-degree Source Four). The ETC fixture is meant to spot someone centered on the stage and the QS500NSP is meant to spot someone who is on the left and right middle of the stage. These lights do not have gels because white light is sufficient to spotlight any character. The last two fixtures are the MAC TW1. These are dynamic fixtures meaning that they have a certain degree of rotation in the x and y-axis. They are able to track moving people and can display a CMY spectrum of colors. These will be used for the few scenes of attempted fancy lighting. The angles of the lights that are listed in the table below are only approximate; there is a high chance, that when the master electrician is hanging and focusing the lights, the angles will change.<br />
<br />
<br><br />
There are only a few scenes with "fancy lighting", so the rest is leaving the wash up on the set. These scenes include the opening of the play and during a scene in the beginning where the dead body is found. However, an actor doesn't make his cue and the effect is repeated two or three times as the entire cast repeats that there has been a murder. In the opening of the play, there is a spotlight where the "director" of the play is supposed to stand in to present his play, but he is only half in the light because he did not step forward enough to be in the light. We plan to use the ETC 405 fixture to shine a spot on the stage and have it focused so that we miss the actor. Our plan for the actor who is supposed to be dead on a couch is to use one of the MAC TW1 to shine a spot on him while he is still getting into his place. Lastly, when the cast says "murder", we plan to use both of the MAC TW1s to flash red on the group of actors on the center of the stage. <br />
<br />
<br><br />
===Lighting Details===<br />
{| class="wikitable" width="80%"<br />
! Name<br />
! Angle<br />
! Colour<br />
|-<br />
! scope="row"| Chauvet LED PAR 64<br />
| align="center"| 135<br />
| align="center"|ROSCO 02 Bastard Amber<br />
|-<br />
! scope="row"| Chauvet LED PAR 64<br />
| align="center"| 225<br />
| align="center"| ROSCO 02 Bastard Amber<br />
|-<br />
! scope="row"| Q500NSP (PAR 56 NSP)<br />
| align="center" |135<br />
| align="center" |No Need<br />
|-<br />
! scope="row"| Q500NSP (PAR 56 NSP)<br />
| align="center" |135<br />
| align="center" |No Need<br />
|-<br />
! scope="row"| ETC 405 (5 degree Source Four)<br />
| align="center" |0<br />
| align="center" |None<br />
|-<br />
! scope="row"| Par 64 Strip (WFL)<br />
| align="center" |0<br />
| align="center" |ROSCO 81 Urban Blue with Diffuser<br />
|-<br />
! scope="row"| Par 64 Strip (WFL)<br />
| align="center" |0<br />
| align="center" |ROSCO 81 Urban Blue with Diffuser<br />
|-<br />
! scope="row"| Par 64 Strip (WFL)<br />
| align="center" |0<br />
| align="center" |ROSCO 81 Urban Blue with Diffuser<br />
|-<br />
! scope="row"| Par 64 Strip (WFL)<br />
| align="center" |0<br />
| align="center" |ROSCO 81 Urban Blue with Diffuser<br />
|-<br />
! scope="row"| Par 64 Strip (WFL)<br />
| align="center" |0<br />
| align="center" |ROSCO 81 Urban Blue with Diffuser<br />
|-<br />
! scope="row"| Source Four PARNel WFL <br />
| align="center" |90<br />
| align="center" |ROSCO 02 Bastard Amber<br />
|-<br />
! scope="row"| Source Four PARNel WFL <br />
| align="center" |270<br />
| align="center" |ROSCO 02 Bastard Amber<br />
|-<br />
! scope="row"| Source Four PARNel WFL <br />
| align="center" |30<br />
| align="center" |ROSCO 02 Bastard Amber<br />
|-<br />
! scope="row"| Source Four PARNel WFL <br />
| align="center" |15<br />
| align="center" |ROSCO 02 Bastard Amber<br />
|-<br />
! scope="row"| Source Four PARNel WFL <br />
| align="center" |0<br />
| align="center" |ROSCO 02 Bastard Amber<br />
|-<br />
! scope="row"| Source Four PARNel WFL <br />
| align="center" |345<br />
| align="center" |ROSCO 02 Bastard Amber<br />
|-<br />
! scope="row"| Source Four PARNel WFL <br />
| align="center" |335<br />
| align="center" |ROSCO 02 Bastard Amber<br />
|-<br />
! scope="row"| Source Four PARNel MFL<br />
| align="center" |15<br />
| align="center" |ROSCO 4830 CC 30 Pink<br />
|-<br />
! scope="row"| Source Four PARNel MFL<br />
| align="center" |0<br />
| align="center" |ROSCO 4830 CC 30 Pink<br />
|-<br />
! scope="row"| Source Four PARNel MFL<br />
| align="center" |0<br />
| align="center" |ROSCO 4830 CC 30 Pink<br />
|-<br />
! scope="row"| Source Four PARNel MFL<br />
| align="center" |350<br />
| align="center" |ROSCO 4830 CC 30 Pink<br />
|-<br />
! scope="row"| Martin Mac TW1<br />
| align="center" |20<br />
| align="center" |No Need<br />
|-<br />
! scope="row"| Martin Mac TW1<br />
| align="center" |340<br />
| align="center" |No Need<br />
|-<br />
|} <br />
<ref>"Source Four ® 5 ̊ Ellipsoidal Series". Texas Scenic. N.p., 2017. Web. 14 June 2017.</ref><br />
<br><br><br />
<br />
==Sound==<br />
<br><br />
[[File:Sound_The_Play_that_Goes_Wrong.jpg|500px|alt=Image ]]<br />
<br />
The sound design for ''The Play that Goes Wrong'' is not very complex and was purposefully done this way. The cast is made up of only 8 members who have only spoken parts. There is one cast member, who acts as the sound board operator and director, who seems to wear a Clear-Com looking headset that does end up projecting through the speakers. Characters will each have a microphone pack that will be projected out through 4 speakers that are hung on vertical struts. These speakers will have 90 degree dispersion, with 45 degrees of dispersion on each side of the axis. Two of the speakers will be located at the front orchestra section mounted at 45 degree angles from where they are mounted. This will project the sound to the first level of the theater. The other two smaller speakers will be mounted on the wall at the front of the second level and will be lined up against the wall. The diagram above shows the design. <br />
<br><br />
In the show there are multiple sound effects that go off throughout the show. In the table below, the act, scene, name and file is presented. These are the sounds we would pick if we were to produce the show. We are using YouTube videos that were converted into MP3 files. The references section has the links to the videos.<br />
<br><br />
{| class="wikitable" width="80%"<br />
! Act <br />
! Name<br />
! Listen<br />
|-<br />
! scope="row"| 1<br />
| align="center"| Creaking Door<br />
| align="center"| <mp3player>File:WoodDoor.mp3</mp3player><br />
<ref>Wood Door Creak Open Sound Effect. (2014). https://www.youtube.com/embed/U3Hqd6fw-i8. </ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Door Slam<br />
| align="center"|<mp3player>File:DoorSlam.mp3</mp3player><br />
<ref>Door Slam Sound Effect (Download Link). (2012). https://www.youtube.com/watch?v=fNNhE0Cz2QY.</ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Dramatic Music<br />
| align="center"|<mp3player>File:Suspense.mp3</mp3player><br />
<ref>Suspense Sound Effects. (2016). https://www.youtube.com/watch?v=ziobtd9JTtk.</ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Flame Lighting<br />
| align="center"| <mp3player>File:Fire.mp3</mp3player><br />
<ref>Fire sound effect (3). (2011). https://www.youtube.com/watch?v=Zmw32wCGWuc.</ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Body Hitting the Ground<br />
| align="center"| <mp3player>File:Bodyeffect.mp3</mp3player><br />
<ref>Body Fall SOUND EFFECT - Körper fällt zu Boden SOUNDS. (2015). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Telephone Ringing<br />
| align="center"| <mp3player>File:Old_phone_-_sound_effect.mp3</mp3player><br />
<ref>old phone - sound effect. (2012). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Drawing Sword<br />
| align="center"| <mp3player>File:Draw_sword_sound_effect_(2).mp3</mp3player><br />
<ref>Draw sword sound effect (2). (2012). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Sword Clashing<br />
| align="center"| <mp3player>File:Sword_clash_sound_effect_(1).mp3</mp3player><br />
<ref>Sword clash sound effect (1). (2012). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Gun Shot<br />
| align="center"| <mp3player>File:MLG_Gun_Shot_Sound_Effect.mp3</mp3player><br />
<ref>MLG Gun Shot Sound Effect. (2016). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Crash<br />
| align="center"| <mp3player>File:LOUD_CRASH_SOUND_EFFECT.mp3</mp3player><br />
<ref>LOUD CRASH SOUND EFFECT. (2015). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Dramatic Music Repeat<br />
| align="center"| <br />
|-<br />
! scope="row"| 1<br />
| align="center"| Dramatic Music Repeat<br />
| align="center"| <br />
|-<br />
! scope="row"| 1<br />
| align="center"| ''Girls on Film'' by Duran Duran<br />
| align="center"| <mp3player>File:Duran_Duran_-_Girls_On_Film.mp3</mp3player><br />
<ref>Duran Duran - Girls On Film. (2010). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 2<br />
| align="center"| Dramatic House Music<br />
| align="center"| <mp3player>File:Open.mp3</mp3player><br />
<ref>🎹 Trevor DeMaere - Opening Stargate (DramaticEpic Orchestral Music). (2012). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 2<br />
| align="center"| Paper Scattering<br />
| align="center"| <mp3player>File:Papers_Falling_SOUND_Effect.mp3</mp3player><br />
<ref>Papers Falling SOUND Effect. (2016). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 2<br />
| align="center"| Clock Chiming<br />
| align="center"| <mp3player>File:Clock_chimes_12_Sound_Effect_(SUPERB).mp3</mp3player><br />
<ref>clock chimes 12 Sound Effect (SUPERB). (2012). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 2<br />
| align="center"| Knocking on Wooden Door<br />
| align="center"| <mp3player>File:Loud_Knocking_on_Door_Sound_Effect.mp3</mp3player><br />
<ref>Loud Knocking on Door Sound Effect. (2014). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 2<br />
| align="center"| Telephone Ring Repeat<br />
| align="center"| <br />
|-<br />
! scope="row"| 2<br />
| align="center"| Doorbell Rings<br />
| align="center"| <mp3player>File:Door_Bell_Sound_Effect.mp3</mp3player><br />
<ref>Door Bell Sound Effect. (2015). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 2<br />
| align="center"| Vase Shattering<br />
| align="center"|<mp3player>File:Glass_Vase_Shattering_Sound_Effect.mp3</mp3player><br />
<ref>Glass Vase Shattering Sound Effect. (2014). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 2<br />
| align="center"| ''Rio'' by Duran Duran <br />
| align="center"| <mp3player>File:Duran_Duran_-_Rio.mp3</mp3player><br />
<ref>Duran Duran - Rio. (2009). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 2<br />
| align="center"| House Music<br />
| align="center"| <mp3player>File:Duran_Duran_-_The_Reflex.mp3</mp3player><br />
<ref>Duran Duran - The Reflex. (2009). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
|} <br />
<br />
<br><br><br />
<br />
==Costumes and Hair and Makeup ==<br />
Costumes, hair and makeup are being based on 4 main characters in ''The Play That Goes Wrong''. The characters have hair, makeup, and costumes based on their attributes and the situations that they are in. <br />
<br><br />
<br />
{{Infobox<br />
|title = Annie <br />
|bodystyle = width:12em<br />
|image = [[File:unat.png|x360px|alt=Milestone Image]]<br />
|label1= Thanks to<br />
|data1= [[User:Nbloniarz|Natalie Bloniarz]]<br />
}}<br />
=== Annie === <br />
Annie is the company's stage manager who makes sure that the actors go on stage at the right time and that the whole backstage is taken care of. She can often be found around the stage trying to keep the show from falling apart. During the beginning of the show she can be seen fixing the broken set and she seems to be pretty well versed in the nuances of the stage and how to fix the stage. Her first costume would be her wearing a nondescript worn t-shirt and a pair of also worn jeans or overalls with a tool belt. This will give her the jack of all trades look. She would have little to no makeup on so as not draw any attention to her. Her hair would pulled up into either a ponytail or pigtails. Her second look (seen in the picture to the right) would be for when she has to take over the role of Florence Colleymoore due to an accidental head injury to the actress. They throw her on stage in the ill-fitting red flapper dress of Ms. Colleymoore, a slightly askew flapper wig right over top of her own hair with the ponytail or pigtails sticking out, and a hasty makeup job. The makeup is absolutely terrible and totally rushed. To achieve this look I first applied a base skin tone foundation and then added some contour on the cheeks to give them more definition. I put a darker concealer under the eye to give the impression of dark circles, which is the opposite of what is typically desired. The eyebrows were filled unevenly and eccentrically to show the haste in the makeup. The lips are smudged and overdone along with blush that covers too much of the cheek. Overall the look should scream overdone, rushed, and terrible, as seen in this picture.<br />
<br><br />
<br />
{{Infobox<br />
|title = Trevor <br />
|bodystyle = width:12em<br />
|image = [[File:mben.png|x360px|alt=Milestone Image]]<br />
|label1= Thanks to<br />
|data1= [[User: Bjsecino|Benjamin Secino]]<br />
}}<br />
=== Trevor ===<br />
<br />
Trevor is the company's lighting and sound operator who makes sure the lighting and sound cues go on during the right part of the script. He is a bit absent minded during the show and can be seen running around fixing things or missing his cues. During the show, he accidentally calls over his com to the audience his notes, which are noting the error on stage to the stage manager, so that the audience notices it even more. One can see him missing sound and lighting cues while he is looking at his phone. Trevor also loses his Duran Duran CD, which he plays as a sound cue by accident and the CD is found in the final scene instead of an important ticket. His demeanor shouts “I don’t care” and tiredness. For his costume, I would have him wear all black, which is the usual technical crew member's outfit. I would leave the actor's natural hair since it adds nothing to the show. His makeup would emphasize under eye bags and would be as natural as possible while highlighting all of the person’s facial flaws. I would have him either grow some stubble or draw it own. To achieve this look I would start with a base foundation of his skin color, stipple highlight, and contour in order to shape his face a little. To create the illusion of wrinkles I would take two different colors, dark and light, and have him wrinkle his forehead. In the crevasses, I would put the darker color and on the top put the lighter color. I would then use a makeup sponge to blend the colors to make the look more natural. To create the stubble on a clean shaven face I would start with a darker foundation around his jawline and then speckle black dots in that area. Then I would blend until I got the desired look. Trevor’s final look would be one of not caring and gross exhaustion. <br><br />
<br />
{{Infobox<br />
|title = Inspector Carter <br />
|bodystyle = width:12em<br />
|image = [[File:oben.png|x360px|alt=Milestone Image]]<br />
|label1= Thanks to<br />
|data1= [[User: Bjsecino|Benjamin Secino]]<br />
}}<br />
=== Inspector Carter (Chris) ===<br />
<br />
Chris is the actor who plays Inspector Carter during the show. Inspector Carter is an esteemed detective called to investigate the death of the healthy, wealthy, and soon to be married Charles Haversham. This show takes place during the 1920’s, so I decided that he should have the look of a 1920’s gentleman. For his costume, I will be taking inspiration from Sherlock Holmes and the quintessential gentleman of the 1920’s. So I would have him wear a pair of trousers, black leather shoes, white shirt, tie, and a long trench coat. This will give him the look of authority during a play that is quite literally falling apart at the seams. Inspector Carter’s hair, if possible, would be slicked back and combed with a part to one side. For the makeup, I would start out with a skin tone foundation and then highlight and contour his face to give him higher cheek bones to make him more proper looking. This would be smudged and blended with a makeup sponge. I would put some dark concealer inside his smile lines to make him look older and wiser. He would also have a small mustache, which could be modeled from Gomez Addams’ mustache. It would be drawn on by hand and then smudged with a brush. He needs to look prim and proper to add contrast to the lack of professionalism during the show. <br />
<br><br />
{{Infobox<br />
|title = Florence Colleymoore <br />
|bodystyle = width:12em<br />
|image = [[File:bnat.png|x360px|alt=Milestone Image]]<br />
|label1= Thanks to<br />
|data1= [[User:Nbloniarz|Natalie Bloniarz]]<br />
}}<br />
=== Florence Colleymoore (Sandra)===<br />
Sandra is the leading lady of the ''Murder at Haversham Manor'' and plays Florence Colleymoore , the soon to be married fiancé of the late Charles Haversham. Her style is of a 1920’s flapper girl who is very seductive and suggestive. She would have a red dress with a modest neckline and that comes down to the mid-calf. It should look kind of cheap looking and be paired with a short kitten heel and skin tone tights. Underneath the dress, she should wear spandex shorts due to the fact she gets knocked out by a door during the middle of the first act and gets carried off through a stage window in the most ungraceful way. The spandex will ensure that the audience does not see more than they paid for. Her second outfit will be when she comes on stage in the spandex and a bra trying to take back the roll from Annie the stage manager. It will be clear that they stripped Sandra of her dress and wig to give to Annie. The makeup for Sandra would start with a skin tone foundation blended with concealer under the eyes. Next, I would stipple highlight and shadow into the face’s peaks and valleys to give the face a more multidimensional look. It should be blended so it does not look splotchy. The eyebrows should be drawn on at a medium darkness, accompanied by a pale eyeshadow. Eye makeup would be finished off with mascara and black eyeliner. I would lightly brush blush onto the apples of the cheeks and finish the whole look off with red lipstick. She will also be wearing a dark haired wig that has a blunt and short flapper hairstyle. Her appearance is important to the play due to the fact that she is one of the only female actors in the ''Murder at Haversham Manor''. She needs to stand out, but also look natural next to the rest of the cast.<br />
<br><br><br />
<br />
==Poster & Promotion==<br />
[[Image:TPTGS Poster.jpg|thumb|right|x600px]]<br />
For promotion, I designed a poster that can be distributed through a variety of modes such as being hung up in the tube stations, hung around the West End, featured on online theater booking sites and social media. The design was meant to be simplistic and bold so it would catch people's attention and be easy to read quickly. I achieved this through high contrast colors and limiting the complexity of the poster. There are no small details or an abundance of colors to distract the eye from the message. The text is minimal, large, and easy to read. A small line of text can be added underneath the title to indicate the date without detracting from the title. That text would be white and in a basic font. The different elements of the poster are also based on themes of the show. To emphasize the theatrical aspects the font is similar to the one associated with Broadway, the page is framed by a theater marquee, and stage lighting casts a spotlight on the text. To emphasize the chaos of the show lights on the marquee are broken, half of the word "wrong" is falling down, one of the spotlights is broken and the other one is shining a bit too far right also casting more focus on the falling letters.<br />
<br><br><br />
<br />
=Conclusion=<br />
<br><br />
A theater production is so much more than just the actors. Without the production team, there would be no show. The acting is only just the surface of what goes into a show. When putting on a show, all aspects of the production must be closely considered. The set must allow maximum visibility to the entire audience, be a functional space and contribute to setting the tone of the show. Lighting must highlight both the set and actors and establish tone. The sound system must give every audience member clear, audible sound. Costumes and makeup should give a visual representation of the characters while maintaining functionality for the actors. Finally, the promotional team must ensure that there is an audience to see the show. "The Play That Goes Wrong" simultaneously demonstrates what to do and what not to do. The fictional theater group in the show creates an unstable, unsafe set, misplaces props and misses an actor with their spotlight among other mistakes. However, the show as a whole features many aspects done right by the real-life theater company. The sound system, while simple, is effective and special effects are carried out in a safe manner. They manage to have the second floor of the set collapse in a safe manner. The set design, through subtly creating an angle in the rear wall, allows for good visibility of the entire set. <br><br />
Future research may compare other productions of "The Play That Goes Wrong". Long-term research includes how theater practices and technology evolve from where they are today.<br />
<br><br><br />
<br />
=Attribution of Work=<br />
We all participated equally in the writing, research, and effort that was put into this large project. As a group, we went to see ''The Play that Goes Wrong'' and bought the play script to help mold the show into our own.<br />
<br><br />
==Katharine Conroy==<br />
In the background and deliverable, I wrote the sections on props, hair and makeup, and costumes. <br />
<br><br />
<br />
==Lauren Conroy==<br />
I wrote the abstract, introduction, lighting background, sound background, and lighting deliverable.<br />
<br><br />
<br />
==Justine Roy==<br />
I wrote the scenic background, promotions background, modern costuming practices, scenic deliverable, promotions deliverable, and conclusion.<br />
<br><br><br />
<br />
=References=<br />
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<!--DO NOT COPY THE FEATURED CATEGORY CODE BELOW--><br />
[[Category:Featured Projects]]<br />
<!--ONLY LONDON HUA ADVISORS MAY USE THE FEATURED CATEGORY TAG ABOVE--></div>Kfconroyhttps://londonhuawiki.wpi.edu/index.php?title=Music_Theory_behind_Grunge_Music&diff=19362Music Theory behind Grunge Music2017-06-22T14:36:33Z<p>Kfconroy: </p>
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by [[User:Kfconroy|Katharine Conory]]<br><br />
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{{Infobox<br />
|title = Music Theory behind Grunge Music <br />
|bodystyle = width:24em<br />
|image = [[File:piano-1655558_640.jpg|x450px|alt=Milestone Image]]<br />
|label2 = Stevepb. (2016). Piano photograph. Licensed under Creative Commons Zero on Pixabay.com <br />
|data2 = <ref> Stevenpb. (2016, August 8). Piano [Photograph]. Retrieved from: https://pixabay.com/en/piano-music-score-music-sheet-1655558/ </ref><br />
}}<br />
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=Abstract=<br />
The objective of this milestone is to take all that I have learned from my [[Grunge in London|Grunge in London]] Capstone to analyze the music through the lens of music theory. I was able to see what grunge music has to offer by way of harmony, rhythm, dynamics, and form, which are some of the elements of all music. For my deliverable, I took all that I learned from this analysis of grunge music from a music theory background to create my own guide to what a grunge song would contain in the way of harmony, rhythm, dynamics and form with examples of what I would do. <br> <br><br />
For this project, I drew back on my past experience with music theory and my violin background. This is slightly challenging due to the fact that harmony for a violin is much simpler for a violin than a guitar. In high school, I took several music classes and was in both chorus and band. I hope to gain more knowledge about music theory and help others understand music as well. <br />
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=Introduction=<br />
This project is meant to introduce those who enjoy music to the music theory or backbone of music that makes it sounds a certain way or gives it a certain emotion. Music is defined by its elements, which allows a certain genre of music sounds different than another. So, I distinguished four important elements of music and did an in-depth analysis of each with a comparison of grunge to popular rock music of that time. From that analysis, I then produced a guide to producing gunge songs from a satirical background with examples of what I would do. <br> <br><br />
In my research, I found that grunge was more covered as a social and ethical topic with little being covered about the music itself. It was difficult to find much on the elements of music in respect to the grunge genre itself, but I did find some info on it under the umbrella of alternative. I discovered that its sound and style was primarily based off of the music’s harmony with the rhythm, form, and dynamics still very important to its overall sound. But, there was no real pattern to the music. Together in had a unique sound due to the harmonic practices, but what really kept the genre a genre was the music’s attitude and the taboo topics it tried to address. Each artist has its own unique style and sound but they all fell into the same genre. This project needs more research to fully grasp the musical differences between grunge music and the popular rock of the time. <br />
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=Section 1: Background=<br />
Grunge was a style choice, a cultural movement and most importantly a music style that appeared in the late 1980’s to the early 1990’s, which songs had focused on topics of a taboo nature such as alienation, depression, and suicide. The movement focused on using their music to enlighten those around them about the problems that they were suffering from, which resonated very well with the youth who were also facing many of those issues. It was very popular and topped many of the more well-known artists. It had a new an appealing sound that differed from the rock and pop music of day. Grunge music is considered to be a sub-genre of rock with heavy overlap with other rock subgenres such as alternative, metal, and punk <ref> STRONG, C. (2016). GRUNGE: music and memory. S.l.: ROUTLEDGE. </ref>.The music contained a dirty and raw sound guitar sound, which gave the genre its name. This music has a significant effect on the culture of the Seattle area where is was started, which is no surprise due to the fact that music has always been a major component of cultural changes in society. There have been many scholarly articles citing its importance and during this time there was a major shift in attitudes towards the world and the people who lived in it, which emphasized the feelings correlated to alienation, depression, and suicide. However one may ask how music, subtracting the lyrics, could evoke such feelings, which in fact brings me to the focus of this capstone; the music theory behind grunge music that gave it its unique sound. <br><br> <br />
The music theory behind grunge music will explain how this music became so unique, but this calls into question of the definition music. In the most literal idea, one can see music as “vibrations in the air that are observed by us and then interpreted as sounds. These sounds play out over time, meaning that music is, therefore, sound over time” <ref> Samama, L., & Clements, D. (2016). What is music? In The Meaning of Music (pp. 27-31). Amsterdam University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/j.ctt1b9x1ts.5</ref>. However, that is way too literal and would infer that all sounds are music like all paintings are works of art. Music is way more sophisticated and can be seen as “multi-dimensional (and a) multimedia phenomenon’’ <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017.</ref>. Therefore music is grouped into seven different elements, which are rhythm, dynamics, melody, harmony, tone color, texture, and form to help identify the key differences between grunge music and say rap. These elements added to the sound and identity of the genre, so much so it stood out from the rest of the alternative genre, which grunge was a subgenre of, during that era. Below I have chosen 4 elements I feel distinguished the grunge genre of from that which was popular during the 1990’s and created the special sound to the music that allowed the artists to express their emotions. <br><br> <br />
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==Musical Elements ==<br />
===Harmony === <br />
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Harmony is very important to the creation of music, due to the fact it the way notes are played in relation to each other. This is a very technical and complex element of music that can be fairly hard to understand, so it is important to start at the beginning. There are seven notes in all of the music, not including all of the flats and sharps, A, B, C, D, E, F, G and these are the building blocks on which songs can then be built. The full list of notes which contain all the flats (b) and sharps (#) starting at A is '''A''', A#/Bb, '''B''', C, '''C#/Db''', '''D''', D#/Eb, '''E''', F, '''F#/Gb''', G, '''G#/Ab''', '''A''' and follows a pattern of 2212221, which gives a scale of A major. The pattern is followed by the bolded letters produces A, B, C#, D, E, F#, G#, and A as the A Major Scale. From the scale, one can then produce all of the chords that can be made from that key. A chord is several notes played together to that are separated by thirds, which produce notes that complement each other very well. The chords for an A major key would contain AC#E I (major), BDF# ii (minor), C#EG# iii (minor), DF#A IV (major), EG#B V (major), F#AC# vi (minor), G#BD vii0 (diminished). To form these 3 note chords, one takes the scale and starts at the first note in the scale, which in our case is A. Then, skip the next note, B, and chose C# to do this again for the third and last note of the chord. Your final chord will be AC#E, which is a major chord and they you do it for B, C#, etc. for the rest of the chords until you come back to your original note A. The chords are in a pattern of major, minor, minor, major, major, minor, and diminished, which are shown by the capitalized Roman numerals rather than the lower case ones and the 0 at the end means diminished. Another name this goes by is diatonic harmony and all this is the way notes relate with each other in a certain key. All of this can be replicated for all of the other keys in music to get chords. These chords then can be played in succession after one another and produce a chord progression. Some commonly used chord progressions in the key of A are ADE (I – IV- V) and BEA (ii-V-I). These chords and chord progression are what creates the harmony in the song and they are often used in term of how harsh they sound. The harshness of chords is quantified into dissonance and consonance. Dissonance is a very harsh sounding harmony and its chords known for creating tension in a piece. Consonance is a smooth sounding harmony that creates consonant chords, which resolves tension created by the dissonant chords. Chords are very important to music because it truly creates the mood of the music. More dissonant sounding music sounds almost unstable, eerie and sad. A really good example is Mozart’s Quartetto K. 465 "delle dissonanze". One can hear the very dissonant beginning and then throughout the rest of the piece, one can hear how dissonance is resolved by consonance (The Elements Of Music, 2017, p. 3). <htmltag tagname="iframe" id= width="200" height="150" src="https://www.youtube.com/embed/08uY0-ehL-w" frameborder="0" allowfullscreen></htmltag> <br />
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In grunge music, harmony played a large part in creating its aesthetic and sound. This music was very powerful and was known to use “power chords” (McDonald, 2000, p.355) as a “set of harmonic practices that rock musicians, particularly those who participate in the domain of guitar-oriented 'alternative' rock, have been using” (McDonald, 2000, p.355) <ref> McDonald, C. (2000). Exploring modal subversions in alternative music. Popular Music, 19(3), 355-363. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/853641 </ref>. These musicians were trying to break the mold of rock and alternative music so they tried new practices such as distorting the guitar’s sounds and choosing unique chord combinations. An example of this was the change of the power chords, which are normally fifths or fourths (McDonald, 2000, p.356). However, do to the heavy guitar distortion, created by overloading the signal into the amplifier, it created a more complex sound that allowed more sound to come from the notes played. This distortion allowed chords done in thirds to have a richer and fuller sounds and as a byproduct created a very dissonant sound (Biamonte, 2010, p. 97). Another in interesting part to grunge’s harmony was its use of “third or cross relations” (McDonald, 2000, p.357) that allows songs that were written in the key of A major and as we determined before C# would be the C note used, however in grunge music the C would incongruently change a minor third to C5 or Cb. This is what author Chris McDonald calls “modal subversion” (McDonald, 2000, p.357). It used constantly in these songs and an example of it would be in “Smells like Teen Spirit” by Nirvana. In this song the key is in F minor and in that scale A is natural but in “Smells like Teen Spirit” the A modulates to Ab (Osborn, 2013, 31) <ref> Osborn, B. (2013). Subverting the Verse–Chorus paradigm; terminally climactic forms in recent rock music. Music Theory Spectrum, 35(1), 23-47. doi:10.1525/mts.2013.35.1.23 <br />
</ref>. This a common theme in many grunge songs and gives its unique sounds, aesthetic, and emotion. <br />
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=== Rhythm ===<br />
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{{Infobox<br />
|title = Metronome <br />
|bodystyle = width:25em<br />
|image = [[File:music-780588_640.jpg|x450px|alt met]]<br />
|label1= Rizzardo,S. (2015). Metronome Photo. Licensed under Creative Commons Zero on Pixabay.com<br />
|data1= <ref> Rizzardo,S. (2015, May 23). Metronome [Photograph]. Retrieved from: https://pixabay.com/en/music-metronome-ticking-time-780588/ </ref><br />
}}<br />
In music, the rhythm of a song is the time in which a song is played. This can be seen when a person is tapping one’s foot to the beat. The rhythm of the song is very important in creating the emotions of the song due to the fact that it determines how fast the piece is going to be. Encompassed in rhythm are sub-topics of duration, tempo, and meter, which helps the listener and musician to follow the structure of the piece. Rhythm tends to be more the technical part of the song but it carries much importance because without it the song would be a mess of lyrics and instruments without direction. So the duration is the length of time between each note and silence. It is used to bring attention to a certain section of the song because a very long note or silence is jarring to the listener. A silence can bring emphasis to the next note and add a complexity to the tempo of the song. The meter of the song is the repetition of accents and stresses that are arranged into the recognizable beat of the song. In a song, the accented notes tend to be the first note of the measure, however, to create more drama many artists utilize syncopation or the putting of accents on off-beats. The meter is emphasized by the song’s tempo or speed at which the beat is played. It is often known as beats per minute (bpm). The tempo of the song determines the level of excitement and mood of the song. It has been said by Gow that “the time-pattern upon his attention must be the excuse for the common conception of rhythm as the emotional element in music” (Gow, 1915, p. 637) or in layman terms. The pattern of sound, silence, and speed adds significantly to the emotions and feeling drawn from the piece so it is imperative that the artist uses the correct rhythm and tempo for the desired effect. An example of this would be how slow blues music tends to be around the 60 bpm and rock and roll music tends to be about 175 bpm. (Gow, 1915, p. 637- 642)<ref> Gow, G. (1915). Rhythm: The Life of Music. The Musical Quarterly, 1(4), 637-652. Retrieved from http://www.jstor.org/stable/738071 </ref> <br />
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Grunge music is all about the aesthetic of the music and many times it is difficult to derive the meaning of the lyrics due to the vocal quality or symbolic meaning of the lyrics. So it’s imperative to set the right tone via the rhythm because without that the song could be changed from a very dark and emotional piece to one that sounds happy and light. Therefore, the duration of the notes and silences have to create drama and angst. The meter must accentuate the right beat and word of the lyrics to make them pop. One consistency round most grunge music is its timed meter, which was 4/4 time or four beats per measure. The emphasis on notes tended to be inconsistent though because it was really dependent on the lyrics. Some songs did use accents of off-beats to draw more attention to one part or another. Meter also creates the structure to the song. Without that the song has very similar and boring notes with no structure. The tempo has to give the song the right attitude. So in grunge music artists wanted a tempo to reflect sadness and depression that they often felt, but they but they wanted to be interesting and attention grabbing. So many artist chooses tempos from around 90-120 (bpm) there was no exact range to the tempos. It was really up to the musician’s ear. However, one can tell that the artist chose the right tempo, if the emotions were portrayed foremost in the music. A good example would be to speed up or slow down a grunge song.<br />
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When that is done, ignoring the higher pitch of Cobain's voice, it is obvious that one will not get the same emphasis on themes of the music leaving the song useless to the artist. The grunge artist needed the aesthetic of angst and pain to drip from the lyrics to get his point across. <br />
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=== Dynamics ===<br />
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The dynamics of a song is the loudness and or softness at which the song is played at. A song can be played very loudly, fortissimo, or very softly, pianissimo, and it would create a different interpretation of the song. Some genres of music tend to produce quieter music while others like to blast their audience with their music. An artist can also have a range of volumes with many choosing sections of their song to be quieter to emphasize the words or the music’s complexity and others sections being softer to portray emotions. Sometimes the artist wants to create a buildup of tension in the song so he or she will use a crescendo, getting louder, or a decrescendo, getting softer to achieve it. Another part of dynamics, which was touched on in rhythm, is accenting a note or “leaning into a note” <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017. </ref> and it creates a unique sound. It is important to use dynamics because it keeps the music interesting. A lovely example that many people have probably heard before would be in Richard Strauss's Also Sprach Zarathustra, Op. 30. <br><br />
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It starts our pianissimo and then crescendos to fortissimo until it is absolutely blaring. These dynamics are meant to grab the attention of the audience and awaken anyone who has fallen asleep during the very quiet part. Dynamics are an important part of the music creation process due to the fact that a combination of these dynamics creates the genre's signature style. Hardcore rock is known to bombard their audience with sound while other genres such as country tend to have a moderate volume. <br />
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Dynamics is another really important element in grunge music because it can be used as an emphasis on particular parts of the song. The song could go from a verse of quiet reflection to a chorus of raging anger. This element is interlinked with all of the other elements to create the song the way that artist meant to portray it. Many of the grunge artists use dynamics to emphasize the themes of the song. So while many songs of the grunge genre do tend to vacillate between very loud and quiet, not every song does. It all depends on the themes and emotions of the songs. An example of the differences would be comparing the dynamics of Black Hole Sun by Soundgarden and Glycerine by Bush. They are both classified under the genre of grunge music, but they have totally different dynamics. In Black Hole Sun, the first verse starts out pretty quiet to emphasize the almost euphoric nature of words and the invisibility the singer feels. Then in the chorus, there is a large increase in volume which tries to capture the anger and pain of his invisibility. However, in Glycerine, the verse starts out pretty quiet and has a mournful tone and it crescendos ever so slightly into the chorus which is still mournful plus a bit remorseful also. The dynamics are used in grunge as an emphasis on certain feelings and emotions and though some do have a pattern of a quietverse and loud chorus some use other dynamics to get their point across. <br />
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=== Form ===<br />
<br><br />
{{Infobox<br />
|bodystyle = width:25em<br />
|image = [[File:Guitar-756326_640.jpg|x450px|alt=Milestone Image]]<br />
|label2 = FirmBee. (2015). Guitar Photograph. Licensed under Creative Commons Zero on Pixabay.com<br />
|data2 = <ref> FirmBee. (2015, May 8). Guitar [Photograph]. Retrieved from: https://pixabay.com/en/guitar-classical-guitar-756326/ </ref><br />
}}<br />
In music, the element of form is a combination of the repetition, contrast, and continuity that creates a song’s uniqueness. The form is very dependent on the other elements of music because it is the way the music is arranged. There is a mixture of musical ideas that are carefully arranged to create the meaning behind the music, which is illustrated when the chorus, speaking both lyrically and instrumentally, is repeated. To differentiate the diversions in music, letters such as A, B, C, are used. This is used determine the slight variation in musical patterns. Repetition is often utilized in form to set the theme of the song. This is seen when the chorus is repeated or the verse lyrics change and music stays the same. Repetition in music is known to create continuity and is usually done with a catchy chorus. Contrarily when there is a change or contrast in music, it is often used to note a shift in mood. The form includes a myriad of types including strophic, binary, verse/chorus song, and ternary forms. These types of forms are derived from the repetition, contrast, and continuity referred to previously. The strophic form is when the same music is repeated over and over for several verses of music. This is the most basic form, which lacks contrast and is all repetition. The message the song is trying to portray is usually very elementary. In the binary form, there are two parts. It uses contrast to highlight the question answer music phrasing between the similar phrasing contrasting section. A combination between the binary and strophic forms is the Verse/ Chorus Song form. It alternates between the storytelling verses, which contain different lyrics each verse, and the recurring chorus. <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017</ref>. It creates the feeling of familiarity and allows for many ideas and feelings to be told and then reiterated in the chorus, which is very important in grunge music. The last form being covered is the ternary from. It is a three-part form that has a repletion of the first verse, with different lyrics, which then processes to the chorus and returns back to the theme of the first verse. The form is very diverse in music and can evoke different emotions. So one can see how important it is to grunge music because of its ability to highlight the different parts of the song through repetition, contrast, and continuity. <br />
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Grunge music is primarily about emotions and social issues that plagued many of the youth during that time, so it is very important to have the music bring attention to these issues through the phrasing of the chorus and verses. Songs In the 1990’s many rock songs followed a verse-chorus form, which Brad Osborn likes to call the “verse-chorus paradigm” (Osborn, 2013, p. 23). <ref> Osborn, B. (2013). Subverting the Verse–Chorus Paradigm: Terminally Climactic Forms in Recent Rock Music. Music Theory Spectrum, 35(1), 23-47. doi:10.1525/mts.2013.35.1.23 </ref> or in less layman terms a verse-chorus pattern. Osborn then quotes John Covach who says “In a verse-chorus [form]...the focus of the song is squarely on the chorus...[T]he verses serve primarily to prepare the return of the chorus’’ (Osborn, 2013, p. 23) and this makes the song sound like it’s using the chorus as the main bringer of emotion to the song. Many grunge songs, due to the fact that they are part of the rock genre, did use this form. It allowed many of the emotions of the first verse to be realized and then an overall feeling of dissatisfaction to be released about these feelings. This can especially be seen in “Heart-Shaped Box” by Nirvana, which starts with verse 1 <div style="text-align: center;"> She eyes me like a Pisces when I am weak <br><br />
I've been locked inside your heart-shaped box for weeks <br><br />
I've been drawn into your magnetar pit trap trap <br><br />
I wish I could eat your cancer when you turn black<ref> https://play.google.com/music/preview/Ttdyvwmcelupwuxwf6fsabw2qwq?lyrics=1&utm_source=google&utm_medium=search&utm_campaign=lyrics&pcampaignid=kp-lyrics </ref> </div><br>. The music plays on the use of the verse-chorus form to highlight the emotions of feeling trapped and helpless, which are then built on during the chorus <div style="text-align: center;"> Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice <br><br />
Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice<br><br />
Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice, your advice<ref> https://play.google.com/music/preview/Ttdyvwmcelupwuxwf6fsabw2qwq?lyrics=1&utm_source=google&utm_medium=search&utm_campaign=lyrics&pcampaignid=kp-lyrics </ref> </div><br>. The chorus is emphasizing the trapped feeling the singer is feeling, which he compares to debt. He feels that he is ever in debt and trapped. The next verse, which is musically a mirror of the first verse, but the lyrics speak of the great helpless he feels. This form allows great emphasis on the chorus and it also climaxes at the end when the last chorus is repeated. However, not every grunge song contained this form. In Glycerine by Bush, the song has a much different form, but still allows the emotions of sorrow and regret be portrayed to the audience. <br />
It’s all about the emotions being reached. They did not need to use this form to release and tell all of the audience their problems. It can be reached just as well with other songs <br />
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=Section 2: Elements of Writing a Grunge Song=<br />
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== A Satirical Way of Writing a Grunge Song==<br />
{{Infobox<br />
|bodystyle = width: 20em<br />
|image = [[File: hipster-839803_640.jpg|x320px| ]]<br><br />
|label2 = Unsplash. (2015). Hipster photograph. Licensed under Creative Commons Zero on Pixabay.com<br />
|data2 = <ref>Unsplash. (2015, July 12). Hipster [Photograph]. Retrieved from: https://pixabay.com/en/hipster-goth-grunge-rocker-839803/</ref><br />
}}<br />
So now that we have a solid understanding of what harmony, rhythm, dynamics, and form are and how they are used in grunge music, we are now ready to write a song that emphasizes the true elements of grunge music. Here we are going to go step by step and identify how to create one of these grunge songs. We will be looking back at both our background and analysis of grunge songs to help us determine the best way to make a number one seller like “Smells Like Teen Spirit” by Nirvana. If one is not familiar with a lot of grunge music, I would suggest looking at my page [[Grunge in London|Grunge in London]]. That page will give you more background and information about the grunge era and includes some of its iconic songs from artists both from America and London. The purpose of this is to create a light-hearted and funny guide that highlights the both the technical aspects of grunge music and its unique sound that was learned in the background. While also pointing out repetitive nature of the themes, its inaudible lyrics, and their creepy videos. This is all made in good fun and is not meant to diminish any of the personal problems that these singers faced. They had very serious problems that some were not able to overcome and many did use music as an outlet to express their emotions. But for our purposes, we are focusing more on the teen angst portion, which contains more insignificant problems like Wi-Fi buffering or not having the latest video game, which is trying to fit in with this current generation of teenagers in a world of technology. From this, we will produce steps to creating a chart-topping, show-stopping, musical genius of a grunge song that has the consideration of the elements of music we analyzed. <br />
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<br><br />
==Drawing Inspiration ==<br />
Grunge music was very much known for its aesthetic and its ability to connect with the youth of generation x or those born in the 1990’s. It covered many “distasteful” topics such as depression, suicide, and alienation, which many grunge artists experienced and fought a daily battle to overcome. Today, many still listen to grunge music and find it comforting to know that there were others out there going through the same struggles of feeling forgotten, rejected and lost. But for those who feel that grunge music does not fit in with their technology filled life, they may want to create a grunge song that covers a topic they feel creates negative feelings for them. So to get into the proper mindset to write this song, one must dig deep into the recesses of his or her feelings of teen angst to dig out some sort of darker emotions. May I suggest a YouTube video of a pug who can’t roll over, not having enough phone data, or trying to watch the finale of your favorite show but the Wi-Fi keeps buffering the video? Think of something that is basically insignificant to the rest of the world and only really matters to you. A bad selfie would qualify as a good one also but may need to be prefaced that it was posted to social media and your crush may see it. Horrifying I know! Once you have found the feelings you would like to express in your song, start thinking of how you would like to portray those emotions and what you would like the overall sound to be. These feelings will be the base of your song and all of your further decisions will be based on the mood created by these emotions. I have personally dug out from the recesses of my long-buried teen nerdy angst the feeling of anxiety and sorrow when my code wouldn’t compile. <br><br />
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== Emotion and Harmony ==<br />
Your next step is choosing how you would like to portray that to your listeners. I would do this by making it sound like the world will end if the code doesn’t work and that all will be lost. Don’t be afraid to be over dramatic. That’s what attracts people to the music is the drama and emotion. Right? Now that that has been cleared up, the actual song can now be written. One must start with the most crucial part first, the harmony. When done right, the harmony helps to create the emotion of the music. In grunge, musicians experimented with a variety of different techniques and ideas. They wanted to step out of the norm of alternative music. So, they experimented the chords of the music and found that when they distort the note a great deal it produces a much richer sound that reaches higher. Therefore, much of grunge music is written in 3 note chords which stem from a key signature. So, the first part of creating your harmony is deciding what key you would like your song, which you could do by picking you favorite note. I will be arbitrarily picking the key of F major. If you have a favorite key pick that one; it will make it more personal to you. Next, for choosing your chord progressions pick whatever sounds good together. Also, make sure to have at least one modulation of a note in there. It is a grunge classic and a must if you want your song to be grunge. This will create the dissonance you are looking for and will add to any emotion ranging from hatred to anxiety. Wow look at that, after playing with chords for a few hours, you will be able to get some chord progressions that you like. At this stage, you will also have to decide what instruments you would like to use. You honestly can’t go wrong with the grunge classic of guitar, bass guitar and drum set. If you are feeling fancy you could add another instrument to complement your theme and mood.<br><br />
<br><br />
== Final Steps ==<br />
After your harmony is all figured out, which will probably take a while, you will need to figure out your rhythm. The rhythm as stated before is really based on the emotion of the song so you’re going to need to play around with the speeds until you feel it has reached the right mood to represent the emotions you are trying to portray. Many grunge pieces have a range from 90-120 (bpm), but feel free to choose one that best suits the song. Dynamics is another important part of the piece do to that fact it determines what sections are loud and what sections are softer. Many times gunge utilized dynamics to create a call and response type of sound in the song. It also had the power to create tension in a song so it may work for your song if that is what you are striving for. One may also put accents on different parts of the song where you want to highlight a lyrics. The last thing you’ll need is the form of the song or how it the song is constructed both lyrically and musically. It is all about the repetition of the song of the chorus and its verses. The classic rock and grunge form of the 1990s was the verse-chorus form that focused its attention to the chorus. This is a really nice form for if you are highlighting your chorus. Though all grunge songs did not use this form, they also achieved their aesthetic by used other forms. So feel free to look into other forms that may make your song more grunge. The last requirement to writing a grunge song is lyrics! All grunge songs contained lyrics that expressed their emotions, so make your lyrics emotional and full of angst. As a bonus, have your singer sing very muffled and with almost unintelligible manner. It seemed really popular with bands such as Nirvana and Radiohead. You can't really hear the lyrics but you still felt a deep emotional connection to them. Any of these steps can be done in any order, so maybe start with the harmony or lyrics and form. It's really up to you. Much of the genre was experimentation held together by angst and great chords. And there you have it! You have created the next “Smells Like Teen Spirit”. Now go out and share your amazing song with the world, brace the world for its awesomeness! <br />
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= Musical analysis of songs =<br />
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Taking what has been learned about harmony, rhythm, dynamics, and form and its importance to grunge music now lets look at some songs created in the "grunge" music style. Keep in mind that you're just taking a small slice of examples and that this table isn't all-encompassing. Also note that some of the harmony listed is a general overview of the keys/tonalities explored. Find out more about grunge music and its history [[Grunge in London|here]]. <br />
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{| class="wikitable" width="80%"<br />
|-<br />
! scope="row"| Grunge Music of the Late 1980's - Mid 1990's<br />
|-<br />
! Musical Elements <br />
! Heart Shaped Box <br />
! Black Hole Sun <br />
! Creep<br />
! Glycerine <br />
! Man in the Box<br />
|-<br />
! scope="row"| Artist <br />
| align="center"| Nirvana <br />
| align="center"| Soundgarden <br />
| align="center"| Radiohead<br />
| align="center"| Bush <br />
| align="center"| Alice in Chains <br />
|-<br />
! scope="row"| Rhythm<br />
| align="center"| <br />
* Time Signature: 4/4<br />
*Tempo: Moderately (108 - 120 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: 120 bpm<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: (90-93 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: Moderately (112-116 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: Moderately (107-109 bpm)<br />
|-<br />
! scope="row"| Harmony<br />
| align="center"| <br />
* Key: A minor<br />
*Major Chords: A5, F5, D5/ A, F5, D7<br />
*Chord Progressions: A5, F5, D5, A, D7<br />
| align="center"|<br />
* Key: F major<br />
*Major Chords: Gsus, G6, Bb6, F5, Em<br />
| align="center"|<br />
* Key: G major<br />
*Major Chords: G, B, C, Cm<br />
*Chord Progressions: G, B, C, Cm<br />
| align="center"|<br />
* Key: F major<br />
*Major Chords: F, C5, D5, Bb5<br />
*Chord Progressions: F, C5, D5, Bb5<br />
| align="center"|<br />
* Key: E minor <br />
* Major Chords: Em, E5, G, D, A<br />
*Chord Progressions: G5 G6 G5 G6 C E5<br />
|-<br />
! scope="row"| Dynamics <br />
| align="center"| <br />
*quiet verse and roaring chorus <br />
| align="center"|<br />
*quiet verse and roaring chorus <br />
| align="center"|<br />
*quiet verse and roaring chorus <br />
*crescendo to chorus <br />
*decrescendo to verse <br />
| align="center"|<br />
*quiet crescendo loud moderate level<br />
| align="center"|<br />
*moderate <br />
|-<br />
! scope="row"| Form <br />
| align="center"| <br />
*verse/chorus song form <br />
| align="center"|<br />
*verse/chorus song form <br />
| align="center"|<br />
*verse/chorus song form<br />
| align="center"|<br />
* verse/chorus/ bridge form <br />
| align="center"|<br />
*ABABB Form <br />
|- <br />
|}<br />
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=Conclusion=<br />
<br><br />
In this project, I did an analysis of music theory from the point of view of grunge music. Music, in general, is so incredibly versatile with its ability to change one element to change the whole song and its intentions. All of the elements of music are important to delivering the music’s message. So I decided to look at grunge music though four of the elements of music to give an in-depth analysis on how these elements create the grunge sound. I also looked for ways the elements of music tied the whole genre together and gave it its particular sound. Grunge music was a unique genre that popped up as a sub-genera of alternative music, so I wanted to see what made it stand out from the rest. I determined that the genre itself was notable for its emotional connection to the music. The artists took advantage of rhythm, form, dynamics, and harmony to fit their feelings of depression, angst, and anger. Most notable they changed the way chords were heard by distorting the music’s sounds. It created a fuller sound and changed the chord progressions. They were very experimental and passionate about their music and led me to a “pattern” in their music, which was that it had to be full of emotion and it had to have distortion of chords that allowed them to modulate certain notes. I was then able to play off of this pattern to create a satirized guide to creating grunge music. In the future, I would like to see more research done on patterns in grunge music because this music created a generation and still inspires many today. <br />
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=External Links=<br />
[[Grunge in London| Grunge in London]]<br />
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=References=<br />
<br />
[[Category:Music Projects]]<br />
[[Category:2017]]<br />
<br><br></div>Kfconroyhttps://londonhuawiki.wpi.edu/index.php?title=File:IMG_20170622_104039.jpg&diff=19131File:IMG 20170622 104039.jpg2017-06-22T12:17:14Z<p>Kfconroy: </p>
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<div></div>Kfconroyhttps://londonhuawiki.wpi.edu/index.php?title=User:Kfconroy&diff=19129User:Kfconroy2017-06-22T12:16:13Z<p>Kfconroy: </p>
<hr />
<div>=Katharine Conroy=<br />
[[File: IMG_20170622_104039.jpg|x350px|right|frameless|thumb|Katharine Conroy]]<br><br />
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__TOC__<br />
<br />
=Overview=<br />
The paragraph should give a three to five sentence abstract about your entire London HUA experience including 1) a summary of the aims of your project, 2) your prior experience with humanities and arts courses and disciplines, and 3) your major takeaways from the experience. <br />
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=Milestone 1 Music Theory behind Grunge Music=<br />
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'''Music Theory behind Grunge Music'''<br><br />
'''Objective:''' <br />
Analysis of the the key musical elements to Grunge music. <br />
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This project is meant to introduce those who enjoy music to the music theory or backbone of music that makes it sounds a certain way or gives it a certain emotion. Music is defined by its elements, which allows a certain genre of music sounds different than another. So, I distinguished four important elements of music and did an in-depth analysis of each with a comparison of grunge to popular rock music of that time. From that analysis, I then produced a guide to producing my own gunge song with examples of what I would do.<br />
In my research, I found that grunge was more covered as a social and ethical topic with little being covered about the music itself. It was difficult to find much on the elements of music in respect to the grunge genre itself, but I did find some info on it under the umbrella of alternative. I discovered that its sound and style was primarily based off of the music’s harmony with the rhythm, form, and dynamics still very important to its overall sound. But, there was no real pattern to the music. Together in had a unique sound due to the harmonic practices, but what really kept the genre a genre was the music’s attitude and the taboo topics it tried to address. Each artist has its own unique style and sound but they all fell into the same genre. This project needs more research to fully grasp the musical differences between grunge music and the popular rock of the time. <br />
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[[Music Theory behind Grunge Music|Read More]] <br />
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=Milestone 2 Theater in London=<br />
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'''Theater in London'''<br> <br />
'''Objective:'''<br />
Looking at the behind the scenes work that goes into a theater show. <br><br><br />
Have you ever wondered about the behind the scene magic that goes into creating a play or musical? There is a tremendous amount of work, blood, sweat, and tears that go into producing a show for the stage. It takes a village to put on a show of any magnitude. So for the Theater in London milestone, we focused on the behind the scene departments that make the show a success. The main departments that we felt were very important were scenic, props, lighting, hair and makeup, sound, costumes, and poster and promotion. Without any of these, the show would not be able to go on due to the fact that all of them are crucial to the visual effects of the show. We each specialized in specific departments to learn the history, techniques and uses in a show. After we understood the nuances of these departments, we then watched “The Play that Goes Wrong” at the Duchess Theater here in London to see how they utilized each department. From that, we took inspiration for our own interpretation of the play. We utilized what we learned and incorporated it into our designs for scenic, props, lighting, hair and makeup, sound, costumes, and poster and promotion. We learned a lot about our respective departments and there was a copious amount of information for many of the departments. However, some like props and poster and promotion were quite as well documented but we found more current day information on them. This milestone is a culmination of our passions for the theater. <br />
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[[Theater Beyond the Actors|Read More]] <br />
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=Milestone 3 Grunge Music in London=<br />
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'''Grunge Music in London'''<br><br />
'''Objective:''' A comparison of London and American grunge music that depicts the key differences and similarities.<br />
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This project is meant to be used as an introduction to the misunderstood genre of grunge, which dominated the music scene during the late 1980’s and early 1990’s. To help those unfamiliar with grunge music, I explored the genera and covered it in its entirety. This started with its birth in Seattle, Washington to its impact on society. In my research, I found that grunge music gained almost a cult following beginning in Seattle, Washington that it spread throughout the United States to many other places such as London, England. However, bands that appeared out of the grunge movement from London did not make it as big in London as they did in the United States. United States grunge bands became more popular than their British counterparts. In my research, I did an analysis of popular grunge songs from both the United States and the London area to create a short deconstructed “mixtape” with the purpose of introducing grunge music to a person who has never listened to the music before. I then described what makes these songs grunge and the reason I choose them. I concluded that grunge music was more of an American genera that spread like wildfire throughout the world, but it was influential to the bands of London also. This milestone is my music capstone and it is an analysis of an entire genre of music that took place in both the United States and London. <br />
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[[Grunge in London|Read More]] <br />
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=Activity Journal=<br />
The activity journal represents an ongoing log of reflections gained through each and every project activity on the calendar. <br />
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==Activity #1 Westminster Abbey and The Tower of London==<br />
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Today was the first official day of our time here in London! Still, a bit jet lagged, we started our time here at one of London’s most famous churches, [[Westminster Abbey| Westminster Abbey]] or the Collegiate Church of St. Peter at Westminster. Many know this location as the place where many royals have celebrations such as coronations and weddings. In my most recent memory, I remember all of the excitement when Prince William and Kate Middleton got married at that exact spot. So as I roamed the great size of the church, I looked at all of the magnificent details on all of the tombs, craving, and statuary. The stained glass was also breathtaking and detailed depicting many monarchs and religious figures. However, my favorite part of the Westminster Abbey was the [[Tomb of the Unknown Warrior| Tomb of the Unknown Warrior]]. It showed that no matter what class you were you would still be judged just the same under the eyes of God. <br />
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After the trip to Westminster Abbey, we went to see the [[Tower of London| Tower of London]]. It housed many precious items such as the Royal [[Crown Jewels| Crown Jewels]], the armory, and torture devices also known as instruments of persuasion. As I walked through the castle I realized how important their history and tradition was. The monarchy is very devout to their traditions with many dating back hundreds of years. An extension of this would be the Yeomen or Beefeaters, who can be seen safeguarding the crown jewels. Originally my original impression of the Beefeaters was that they were people who were dressed in traditional garb to simulate the past uniform style, but when I asked a lady from information, she informed me that they were highly trained ex-military. This was very surprising and added greatly to my experience. After the first day of actives in London, I was very exhausted but also still very excited to see what was in store for me in the upcoming weeks.<br />
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==Activity #2 St. Paul's Cathedral==<br />
Today we went to see the [[St. Paul's Cathedral | St. Paul's Cathedral ]], which is part of the Anglican faith. This cathedral was gorgeous with its murals, mosaics and baroque style. the baroque style was very unusual for an Anglican Church due to the fact that is was used frequently by the Roman Catholic church, which it split with when the pope denied King Henry the VIII a marriage annulment. <br />
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When I first walked in, I saw the huge baptismal font that is used during the christening of those seeking the faith. There were also wonderful icons of Jesus and Madonna and Child that I have only been able to see in textbooks or online. The Nave was filled with statues in memory of famous was generals.Then, once you are done gawking at the sight in front, you to gaze up at the ceiling and you realize the magnitude of the cathedral. The journey up to the [[St. Paul's Cathedral#Whispering Gallery|Whispering Gallery]] was very tedious up to those stairs but it was really cool to look down onto the ground below. However, I am terrified of heights so let’s just say the ceiling was very pretty from that height! Overall, I thought that it was some of the most impressive artwork I have ever seen. <br />
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==Activity #3 British Museum==<br />
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The journey we took today brought us to one of the first places we met our advisor during our first day out and about; the [[British Museum |British Museum]]. When walking past the museum, you can see its Greek architecture filled with columns and arches. The whole museum is decorated with ornate crown moldings and tray ceilings, which add to the openness of the rooms. However, unlike most of the sights seen so far, most of the exhibits are artifacts instead of a places to explore. It very much felt like the MET with all of the exhibits emphasizing different times in history and all that they had to offer. <br />
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My favorite exhibit of the museum was the one featuring the [[British Museum#Mesopotamia|Mesopotamia]] region. This exhibit brought me back to sixth grade when I first learned about this region. I saw many tablets with writing in cuneiform, which I remember learning as a kid. It was really cool to see new and different artifacts there. I even got to see the Rosetta Stone, which I remember being a huge deal because it was used to decode other ancient languages. There were also some elements of the museum that kind of had something to do with my theatre milestone, due to the fact that there were ancient artifacts such as masques. This showed the early roots of both theater, where masks were often used to depict characters. Overall I really enjoyed the museum because it brought me back to a wonderful time of my life.<br />
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==Activity #4 Natural History Museum==<br />
I was very excited about going to the [[Natural History Museum| Natural History Museum]]! I absolutely adore going to these types of museums due to the fact that they contain a myriad of exhibits with different exhibitions. The exterior and interior of the building is filled with a mix of roman and gothic architecture, which gave the area a feeling of openness and spaciousness. <br />
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When walking in, I immediately thought about my favorite museum The American Museum of Natural History in New York City. I sent a lot of my childhood and teen life exploring the place I called home. There was always something new and cool to see and it had my favorite prehistoric friends the dinosaurs too. So on arrival, I expedited my way to the dinosaurs and more specifically the [[Natural History Museum#Prehistoric Sea Dinosaurs|prehistoric sea dinosaurs]]. They had a huge collection of [[Natural History Museum #Pliosaurs (Rhomaleosaurus cramptoni)|pliosaurs]] fossils and some ichthyosaurus too. It honestly reminded me of the movie Land Before Time: Journey to Big Water. They also had a animatronic T-Rex which I found really amazing! But in comparison to the American Museum of Natural History, I feel it does not have as many really big dinosaurs (though I may just be biased). <br />
Pertaining to my project, I did see a picture of the Nirvana cover Nevermind, which shows the impact that grunge music had on London culture. Overall, found the museum very different then I originally thought. It focused mainly on a lot of different animals, reptiles, and geological topics, which made this a unique experience.<br />
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==Activity #4 National Gallery and Lunchtime concert==<br />
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Today, I saw [[The National Gallery| The National Gallery]] and it was really disappointing due to the fact that my favorite artist, Monet and all of the Impressionists, were closed today. I really enjoy the impressionists because of the way they see the world. In their works of art, they provide nature and people in their everyday lives. They are not staged and contained many colors and movements. Another artist I was looking forward to was [[The National Gallery# Johannes Vermeer| Johannes Vermeer]], but they only had one of the three paintings available. I remember reading a book in second grade called Chasing Vermeer, so I was really interested in seeing a few of his paintings, but the one that was there was very intricately painted and contained a lot of symbolism. <br />
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We also saw a concert at the [[St Martin-in-the-Feilds|St Martins of the Feilds]], which was really awesome. The concert was played by Nikolay Ponomarev who played the piano. I personally really enjoy listening to music and differentiating the styles of composers, so I was excited by the list of songs on the program. The Transcendental Etude No. 10 in F Minor by Franz Liszt had a very heavy and somber sound to it while as Etude No 10, Op25 in B minor by Chopin has more of a light and airy texture to it. It reminded me of sitting in my music history class in high school and the analysis of these songs to understand where the composer was trying to communicate. <br />
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==Activity #5 Lunchtime concert==<br />
We went to see another concert at [[St Martin-in-the-Feilds|St Martins of the Feilds]], which had a duet between both a saxophonist and pianist. At first glance that combination of instruments sounds pretty interesting, but the way the pieces were written they complemented each other quite well. The pianist was a young woman named Christine Zerafa and young man on the sax was Philip Attard. They were both highly accomplished players representing the Royal Over-Seas League. I really enjoyed Saint Saëns's Sonata Op 166 it was very relaxing and worked very well together but i really disliked Edison Denisov's Sonata for saxophone and piano because they attempted to mimic each other's notes and it sounded quite disjointed. Overall there were some parts i enjoyed and some I did not.<br />
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==Activity #6 Tate Britain==<br />
After a nice and relaxing day of working on my milestones at the British Library, I jumped back into the museum journey. Unfortunately, I feel the strong need to keep continuing on with the milestones since I am progressing very well. So we went to the [[Tate Britain| Tate Britain]] and the time period paintings from the 1500’s to the late 1800s were a lot of portraits of military, literary, and royal figures. But after that time period, many pictures contained that of which involved social movements. There was one piece in particular that covered the grunge movement which was a confusing flow diagram called “The History of the World” by Jeremy Deller that distinguishes one's problems covered by bass bands and an acid house. It highlighted the social and political issues that were dealt with during the Grunge era. I also got to see the newest commission at the museum called [[Tate Britain # Forms in Space…by Light (in Time)| Forms in Space…by Light (in Time)]] by [[Tate Britain # Cerith Wyn Evans| Cerith Wyn Evans]]. It was an interesting piece that utilized light as that medium and space as a canvas. Overall I am pretty museum out and really would not like to look at another aristocrat portrait for a while.<br />
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After going to the Tate Britain, a group of us decided to go see David Tennant in ''Don Juan in SoHo''. It was in a smaller theater that has a classic proscenium theater, which created an intimate feeling even with standing room "seats". The show was a modern take on the classic Don Juan and it was definitely very modern. During intermission, we took a look at the projection systems and lighting and determined that they used S4's with less dispersion do to the fact it was such a small stage. Also we determined that the amazing projection was done by three offstage projectors and an unknown number of projectors onstage. It was amazing to be able to reason through all of design and technical features. <br />
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==Activity #7 Victoria and Albert Museum==<br />
Today we took a trip to the beautiful South Kensington area to visit the [[Victoria and Albert Museum | Victoria and Albert Museum]]. My first impression of the building was that it is massive and very ornately decorated. In the lobby was an amazing blown glass structure that spanned many feet long. I really enjoyed the ornate [[Victoria and Albert Museum # Islamic Middle East| Islamic Middle Eastern]] artwork that ranged from tiles to silk and pottery. The calligraphy was so artfully done and was seen as a work of art due to its intricateness. I also saw an exhibit on theater and performance, which covered almost all of my milestone. I saw amazing diagrams of different set designs, costumes, books, and drawings that all pertain to the behind the scenes nature of my milestone. I only really concentrated on the parts of the museum that pertained to my project due to the fact that the museum is so large. <br />
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==Activity #8 Tate Modern==<br />
Today was a visit just over the bridge at the [[Tate Modern| Tate Modern]]. Unlike most of the other museums, the Tate modern had a very modern and architectural feel to it. It was not at all ornate and had many of the structural beams and hanging lights showing. Personally, I have a limited perspective on modern art. I usually cannot see the meaning in blank canvas or a random piece of wood that I can find in the woods. I have been known to make jeers at modern are also. This has been seen recently when I was doing a modern interpretation of an ice cream cone and correlating it to the coldness of society. However, surprisingly I did find some of the art absolutely breathtaking and full of meaning. I also feel that the backstory behind much of the artwork gives it more meaning. Some of the exhibits I did enjoy were [[Tate Modern #Abstraction and Society| Abstraction and Society]] and optical illusions. They Abstraction and Society display depicted social issues and problems through a different view that demands you full attention. All of those works relate to the grunge movement and how they decoded the problems with society in their lyrics. However even after going to many great parts of the museum I still felt that some pieces could be done by myself, one of little to no artistic talent. Overall, I feel that these museums are lovely and a great cultural experience, but I really need more time to research and write my milestones. I find it very difficult to go to the museum for half the day, write the journal and articles, and then go to the library to start working on the milestone at around 1 or 2 PM till 6 PM, eat dinner and work on it some more. I need more time to add more detail to my project. <br />
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==Activity #9 Museum of London==<br />
The [[Museum of London| Museum of London]] was much smaller than I anticipated. It had the history of London from the prehistoric times to present day. It did have a tiny section that talked about Shakespeare and other playwrights from London but did not talk about any of the technical aspects of theater. Otherwise, there was nothing else that covered my milestones. I did enjoy the part of the museum that covered Roman London because I enjoyed the versatility of the [[Museum of London#Amphitheater| amphitheater]]. It reminded me of the movie Gladiator with Russel Crow. I am ready for the weekend to continue working on my milestones. <br />
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==Activity #10 Imperial War Museum==<br />
Today we went to the [[Imperial War Museum| Imperial War Museum]], which was right across the Thames River. The museum was surrounded by a green a luscious park with many flowers and plants. In the front of the museum, is a walkway boarded by a lavender that leads up to two huge cannons. The design of the museum was also cool with large columns. The entry of the museum was an amazing sight with all of the different planes and such suspended in the air. I made me think of a museum near me called the Cradle of Aviation because of they also had suspended planes but they were about air travel. <br />
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While walking through the museum, I really enjoyed how they had each level dedicated to a different topic. A number of artifacts they had was amazing. I was really interested in WWII and loved how it was from the British point of view because I remember learning it from an American point of view. It also went chronologically with it ending in the war on terrorism and they had a piece of mangled metal from the Twin Towers, which was very sad because of the impact it had on the United States. I also found the exhibit about the Holocaust extremely haunting and sad. However, it was one of the most complete exhibits I have seen on the Holocaust. On the fifth floor (which was really really high), there was an exhibit on the bravery of those fighting in the British Army. It talked about many brave men and women such as [[Imperial War Museum#Joan Daphne Mary Pearson| Joan Daphne Mary Pearson]] and [[Imperial War Museum#Kamal Ram| Kamal Ram]], who risked their lives for the betterment of their country. <br />
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==Activity #11 Museum of London Docklands==<br />
Today we all woke up with the horrific news of the bombing in the Manchester Arena and it is so unnerving to know that no matter where you are in the world there will always be bad people in this world. The train ride was very quiet and somber. <br />
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The [[Museum of London Docklands| Museum of London Docklands]] is located a pretty far distance away and is like 4 too many miles to walk, but I really liked how it was on the “Isle of Dogs”. It’s such an interesting name! Anyways, like the [[Museum of London| Museum of London]], I found this museum catered to a younger crowd, like elementary school students. So a lot of the information was at an elementary level. There were many great parts of the museum that talked about its history, slavery and its rectification, and many maritime things. I really like how they incorporated the [[Canary Warf| Canary Warf]] into the museum’s history. The Canary Warf is so pretty and you can tell it would be an awesome to be on a Friday night.<br />
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==Activity #12 Horniman Museum==<br />
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Traveling even further than we did yesterday we are making our way to the [[Horniman Museum| Horniman Museum]]. It is way too far to walk, but it was only a train and bus ride away. A lot of these places required a decent amount of travel and I am pretty low on the oyster card, so I guess I am going to have to top up soon. However, the museum was in this suburban area and it was really nice to be out of the city. I grew up in suburbia so it was nice to not be so crowded with little store fronts and homes with back yards. Side note, I really like British expressions like top up and cheerio they are just really interesting terms. Now I digress to the actual museum experience.<br />
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So the museum itself is very pretty and is surrounded by luscious fields and [[Horniman Museum#The Gardens| Gardens]]. There were two main exhibits in the museum with one being about evolution and domestication. That part contained a lot of taxidermy animals, birds, and lizards, which was kind of sad because I saw some of my favorite animals stuffed. The next part was the collection of musical instruments. It was pretty cool to see all of the instruments from many different time periods. I also learned and saw instruments from the [[Music Exhibit at the Horniman Musuem#Seasonal Round: Haslemere Festival | Seasonal Round: Haslemere Festival]]. My favorite part was the Garden because they were so peaceful. <br />
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==Activity #13 Hampton Court Palace==<br />
To begin with I will be keeping this journal relatively shot due to time constraints of travel and other her. Today we visited the [[Hampton Court Palace| Hampton Court Palace]] in Zone 6 or better known as a place far far away. It was a really amazing place with a lot of history. I really liked how each in the entrance of the palace there was the coat of arms. I really didn’t get to go to many places but I did make my way to the playground, which was amazing. So my maturity level is at about the age of 2 and a half so I therefore had to go on it. It was awesome!<br />
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==Activity #14 The Wallace Collection==<br />
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Today, after a long and relaxing bank holiday weekend is a day that begins the milestone grind. I really enjoyed this weekend off from work to just explore and have fun. This week is really crunch time with only 3 weeks left and a lot of work left. At [[The Wallace Collection]] there were many paintings and such from the 18th and 19th centuries. It was a lot of amazing collection of artwork, statuary, and armory. I in particular really enjoyed the armory the most because I find the ancient weapons very fascinating. They had medieval swords with faded engravings and ornamental swords meant for display. The collection also housed a large amount of horse armor, which included a gothic piece from the 15th century. There was a lovely exhibit in the basement that allowed visitors to try on a chainmail headpiece and chest piece. They altogether weighed approximately 45 pounds and took a tremendous amount of effort to lift. It was really amazing to think that this place was once a home. <br />
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==Activity #15 London Science Museum ==<br />
The next adventure was to [[London Science Museum | London Science Museum]], which was in one of my favorite parts of London, Kensington. I really enjoyed this place due to the fact that it contained a lot of engineering related items and exhibits. Don’t get me wrong are great and all, however, it was nice to have the breath of fresh air while looking at engineering related exhibits. The night prior a group of us decided to go to the late night at the science museum where they were featuring robots or all shapes and sizes. It was amazing to see the huge array of robots taking over and a number of people interested in the event. They had so many cool exhibitions and I even got to create a robot head with LED lights for eyes. The museum itself contains so many different topics ranging from space to clocks to planes and much more. I found the [[London Science Museum#Wounded, Conflict, Casualties, and Care| Wounded, Conflict, Casualties, and Care]] exhibit very humbling and fascinating they talked about the treatment and how they would get help when injured. It makes me thankful that I am not in that potions and thank my lucky stars for the people who sacrificed their lives for our sakes. <br />
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==Activity #16 Romeo and Juliet==<br />
We went to see [[Shakespeare’s Romeo and Juliet at the Globe Theater (2017)|Romeo and Juliet]] at the Globe Theater. The ambiance was great except for the fact that it was cold and down pouring for the first half of the show. I mean like full on drenching type of rain. We were all cold and wet, but it was awesome to be right in front of the stage where the orchestra would be. I felt like I was at a rock concert awaiting a mosh pit. Anyway, when we read the description of the play we knew that this would be a very modern take on the show and that was only reaffirmed when we saw some of the actors getting ready with modern clothing and white face makeup. The show started out with actors dressed in very modern clothing dancing and speaking their lines to rap and hip-hop music, which was very interesting. They wore makeup that makes them look like clowns, which was, quite frankly, pretty scary. They also did some gender bending with Mercutio’s character. From a technical point of view, the lighting was very reliant on the on stage LEDS and S4’s. There were many lights being used as spots attached to the seating balconies and the sound was also attached there. The props were very simple and added to the idea of the play. I feel they did take the show to a very dark place, which is where it should be due to the fact that it is a tragedy. I really liked how the actors were not afraid to break character on stage and that could be seen when Mercutio tossed her beating stick and it flew off stage in the back through an open window. She asked if she could get it back and it didn’t come back so she went on and when it came back on stage she incorporated it into the scene. My one critique was that the actress that was playing Juliet was way too old (not being ageist at all), even with her makeup on you could tell that she was much older that the actor playing Romeo. She was supposed to be 14 in the show but you could tell she was around 40 and he was 25 or so. But even so, the show seemed to be one long drug induced trip. It was creepy and weird, but I really enjoyed it. <br><br />
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==Activity #17 Stonehedge==<br />
Our farthest trip as a group definitely has to do be our trip to [[Stonehenge| Stonehenge]]. So Stonehenge is in the middle of nowhere right next to some pastoral fields with large burial mounds. Honestly, if you did not know that they were there you would definitely drive right past them without a second thought. From the road the stones seem pretty small and insignificant, but up close they were pretty large. It was interesting to learn that this rock formation was created thousands of years ago. It is thought to have been sacred grounds where religious practices occurred. The extremely heavy stones were thought to be brought from over 200 miles away without the wheel having been created yet. It is definitely was an amazing feat that is many thousands of years before its time. We then went to Bath, which is this amazing little town that has a hot spring. It was cute and quaint with a beautiful abbey. After Bath, we visited the location where they filmed some of Harry Potter. It was really cool and a very small village that had a small population. Overall it was an amazing trip with an amazing tour guide. <br />
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==Activity #18 Windsor Castle==<br />
[[Windsor Castle| Windsor Castle]] was pretty cool. It was composed of many different parts with it stretching more than 20 tennis courts long. When we first stepped in they did a full body and bag scan, it was like going through airport security. The security makes sense due to the fact that we are visiting the residence of the Queen. We visited the drawing rooms, dollhouse, and chapel, which were all meticulously done. They were all ornately decorated with eloquently carved crown molding, gold, crystal, and paintings. I keep a count of how many dogs I could spot in the picture and found 7. Overall, most of the residence was blocked off and it took a little less than an hour to complete. I did not think it was worth it because it took us two hours to get there and we only spent an hour there. Also, it cost us almost 20 pounds to do the trip. So if there was more to see and it cost less then I would feel that it would be worth the journey and money. <br />
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===My Complete Contributions===<br />
The journal section should end with the following link to your complete contributions (new articles, edited articles, added media, etc.)<br />
====[[Special:Contributions/Kfconroy|All of My Created Content and Edits]]====<br />
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[[Category:Profiles]]<br />
[[Category:2017]]<br />
[[Category:Advisor:Manzo]]</div>Kfconroyhttps://londonhuawiki.wpi.edu/index.php?title=User:Kfconroy&diff=19126User:Kfconroy2017-06-22T12:15:24Z<p>Kfconroy: </p>
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<div>=Katharine Conroy=<br />
[[File: kat.jpg|x350px|right|frameless|thumb|Katharine Conroy]]<br><br />
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=Overview=<br />
The paragraph should give a three to five sentence abstract about your entire London HUA experience including 1) a summary of the aims of your project, 2) your prior experience with humanities and arts courses and disciplines, and 3) your major takeaways from the experience. <br />
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=Milestone 1 Music Theory behind Grunge Music=<br />
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'''Music Theory behind Grunge Music'''<br><br />
'''Objective:''' <br />
Analysis of the the key musical elements to Grunge music. <br />
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This project is meant to introduce those who enjoy music to the music theory or backbone of music that makes it sounds a certain way or gives it a certain emotion. Music is defined by its elements, which allows a certain genre of music sounds different than another. So, I distinguished four important elements of music and did an in-depth analysis of each with a comparison of grunge to popular rock music of that time. From that analysis, I then produced a guide to producing my own gunge song with examples of what I would do.<br />
In my research, I found that grunge was more covered as a social and ethical topic with little being covered about the music itself. It was difficult to find much on the elements of music in respect to the grunge genre itself, but I did find some info on it under the umbrella of alternative. I discovered that its sound and style was primarily based off of the music’s harmony with the rhythm, form, and dynamics still very important to its overall sound. But, there was no real pattern to the music. Together in had a unique sound due to the harmonic practices, but what really kept the genre a genre was the music’s attitude and the taboo topics it tried to address. Each artist has its own unique style and sound but they all fell into the same genre. This project needs more research to fully grasp the musical differences between grunge music and the popular rock of the time. <br />
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[[Music Theory behind Grunge Music|Read More]] <br />
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=Milestone 2 Theater in London=<br />
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'''Theater in London'''<br> <br />
'''Objective:'''<br />
Looking at the behind the scenes work that goes into a theater show. <br><br><br />
Have you ever wondered about the behind the scene magic that goes into creating a play or musical? There is a tremendous amount of work, blood, sweat, and tears that go into producing a show for the stage. It takes a village to put on a show of any magnitude. So for the Theater in London milestone, we focused on the behind the scene departments that make the show a success. The main departments that we felt were very important were scenic, props, lighting, hair and makeup, sound, costumes, and poster and promotion. Without any of these, the show would not be able to go on due to the fact that all of them are crucial to the visual effects of the show. We each specialized in specific departments to learn the history, techniques and uses in a show. After we understood the nuances of these departments, we then watched “The Play that Goes Wrong” at the Duchess Theater here in London to see how they utilized each department. From that, we took inspiration for our own interpretation of the play. We utilized what we learned and incorporated it into our designs for scenic, props, lighting, hair and makeup, sound, costumes, and poster and promotion. We learned a lot about our respective departments and there was a copious amount of information for many of the departments. However, some like props and poster and promotion were quite as well documented but we found more current day information on them. This milestone is a culmination of our passions for the theater. <br />
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[[Theater Beyond the Actors|Read More]] <br />
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=Milestone 3 Grunge Music in London=<br />
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'''Grunge Music in London'''<br><br />
'''Objective:''' A comparison of London and American grunge music that depicts the key differences and similarities.<br />
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This project is meant to be used as an introduction to the misunderstood genre of grunge, which dominated the music scene during the late 1980’s and early 1990’s. To help those unfamiliar with grunge music, I explored the genera and covered it in its entirety. This started with its birth in Seattle, Washington to its impact on society. In my research, I found that grunge music gained almost a cult following beginning in Seattle, Washington that it spread throughout the United States to many other places such as London, England. However, bands that appeared out of the grunge movement from London did not make it as big in London as they did in the United States. United States grunge bands became more popular than their British counterparts. In my research, I did an analysis of popular grunge songs from both the United States and the London area to create a short deconstructed “mixtape” with the purpose of introducing grunge music to a person who has never listened to the music before. I then described what makes these songs grunge and the reason I choose them. I concluded that grunge music was more of an American genera that spread like wildfire throughout the world, but it was influential to the bands of London also. This milestone is my music capstone and it is an analysis of an entire genre of music that took place in both the United States and London. <br />
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[[Grunge in London|Read More]] <br />
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=Activity Journal=<br />
The activity journal represents an ongoing log of reflections gained through each and every project activity on the calendar. <br />
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==Activity #1 Westminster Abbey and The Tower of London==<br />
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Today was the first official day of our time here in London! Still, a bit jet lagged, we started our time here at one of London’s most famous churches, [[Westminster Abbey| Westminster Abbey]] or the Collegiate Church of St. Peter at Westminster. Many know this location as the place where many royals have celebrations such as coronations and weddings. In my most recent memory, I remember all of the excitement when Prince William and Kate Middleton got married at that exact spot. So as I roamed the great size of the church, I looked at all of the magnificent details on all of the tombs, craving, and statuary. The stained glass was also breathtaking and detailed depicting many monarchs and religious figures. However, my favorite part of the Westminster Abbey was the [[Tomb of the Unknown Warrior| Tomb of the Unknown Warrior]]. It showed that no matter what class you were you would still be judged just the same under the eyes of God. <br />
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After the trip to Westminster Abbey, we went to see the [[Tower of London| Tower of London]]. It housed many precious items such as the Royal [[Crown Jewels| Crown Jewels]], the armory, and torture devices also known as instruments of persuasion. As I walked through the castle I realized how important their history and tradition was. The monarchy is very devout to their traditions with many dating back hundreds of years. An extension of this would be the Yeomen or Beefeaters, who can be seen safeguarding the crown jewels. Originally my original impression of the Beefeaters was that they were people who were dressed in traditional garb to simulate the past uniform style, but when I asked a lady from information, she informed me that they were highly trained ex-military. This was very surprising and added greatly to my experience. After the first day of actives in London, I was very exhausted but also still very excited to see what was in store for me in the upcoming weeks.<br />
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==Activity #2 St. Paul's Cathedral==<br />
Today we went to see the [[St. Paul's Cathedral | St. Paul's Cathedral ]], which is part of the Anglican faith. This cathedral was gorgeous with its murals, mosaics and baroque style. the baroque style was very unusual for an Anglican Church due to the fact that is was used frequently by the Roman Catholic church, which it split with when the pope denied King Henry the VIII a marriage annulment. <br />
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When I first walked in, I saw the huge baptismal font that is used during the christening of those seeking the faith. There were also wonderful icons of Jesus and Madonna and Child that I have only been able to see in textbooks or online. The Nave was filled with statues in memory of famous was generals.Then, once you are done gawking at the sight in front, you to gaze up at the ceiling and you realize the magnitude of the cathedral. The journey up to the [[St. Paul's Cathedral#Whispering Gallery|Whispering Gallery]] was very tedious up to those stairs but it was really cool to look down onto the ground below. However, I am terrified of heights so let’s just say the ceiling was very pretty from that height! Overall, I thought that it was some of the most impressive artwork I have ever seen. <br />
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==Activity #3 British Museum==<br />
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The journey we took today brought us to one of the first places we met our advisor during our first day out and about; the [[British Museum |British Museum]]. When walking past the museum, you can see its Greek architecture filled with columns and arches. The whole museum is decorated with ornate crown moldings and tray ceilings, which add to the openness of the rooms. However, unlike most of the sights seen so far, most of the exhibits are artifacts instead of a places to explore. It very much felt like the MET with all of the exhibits emphasizing different times in history and all that they had to offer. <br />
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My favorite exhibit of the museum was the one featuring the [[British Museum#Mesopotamia|Mesopotamia]] region. This exhibit brought me back to sixth grade when I first learned about this region. I saw many tablets with writing in cuneiform, which I remember learning as a kid. It was really cool to see new and different artifacts there. I even got to see the Rosetta Stone, which I remember being a huge deal because it was used to decode other ancient languages. There were also some elements of the museum that kind of had something to do with my theatre milestone, due to the fact that there were ancient artifacts such as masques. This showed the early roots of both theater, where masks were often used to depict characters. Overall I really enjoyed the museum because it brought me back to a wonderful time of my life.<br />
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==Activity #4 Natural History Museum==<br />
I was very excited about going to the [[Natural History Museum| Natural History Museum]]! I absolutely adore going to these types of museums due to the fact that they contain a myriad of exhibits with different exhibitions. The exterior and interior of the building is filled with a mix of roman and gothic architecture, which gave the area a feeling of openness and spaciousness. <br />
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When walking in, I immediately thought about my favorite museum The American Museum of Natural History in New York City. I sent a lot of my childhood and teen life exploring the place I called home. There was always something new and cool to see and it had my favorite prehistoric friends the dinosaurs too. So on arrival, I expedited my way to the dinosaurs and more specifically the [[Natural History Museum#Prehistoric Sea Dinosaurs|prehistoric sea dinosaurs]]. They had a huge collection of [[Natural History Museum #Pliosaurs (Rhomaleosaurus cramptoni)|pliosaurs]] fossils and some ichthyosaurus too. It honestly reminded me of the movie Land Before Time: Journey to Big Water. They also had a animatronic T-Rex which I found really amazing! But in comparison to the American Museum of Natural History, I feel it does not have as many really big dinosaurs (though I may just be biased). <br />
Pertaining to my project, I did see a picture of the Nirvana cover Nevermind, which shows the impact that grunge music had on London culture. Overall, found the museum very different then I originally thought. It focused mainly on a lot of different animals, reptiles, and geological topics, which made this a unique experience.<br />
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==Activity #4 National Gallery and Lunchtime concert==<br />
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Today, I saw [[The National Gallery| The National Gallery]] and it was really disappointing due to the fact that my favorite artist, Monet and all of the Impressionists, were closed today. I really enjoy the impressionists because of the way they see the world. In their works of art, they provide nature and people in their everyday lives. They are not staged and contained many colors and movements. Another artist I was looking forward to was [[The National Gallery# Johannes Vermeer| Johannes Vermeer]], but they only had one of the three paintings available. I remember reading a book in second grade called Chasing Vermeer, so I was really interested in seeing a few of his paintings, but the one that was there was very intricately painted and contained a lot of symbolism. <br />
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We also saw a concert at the [[St Martin-in-the-Feilds|St Martins of the Feilds]], which was really awesome. The concert was played by Nikolay Ponomarev who played the piano. I personally really enjoy listening to music and differentiating the styles of composers, so I was excited by the list of songs on the program. The Transcendental Etude No. 10 in F Minor by Franz Liszt had a very heavy and somber sound to it while as Etude No 10, Op25 in B minor by Chopin has more of a light and airy texture to it. It reminded me of sitting in my music history class in high school and the analysis of these songs to understand where the composer was trying to communicate. <br />
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==Activity #5 Lunchtime concert==<br />
We went to see another concert at [[St Martin-in-the-Feilds|St Martins of the Feilds]], which had a duet between both a saxophonist and pianist. At first glance that combination of instruments sounds pretty interesting, but the way the pieces were written they complemented each other quite well. The pianist was a young woman named Christine Zerafa and young man on the sax was Philip Attard. They were both highly accomplished players representing the Royal Over-Seas League. I really enjoyed Saint Saëns's Sonata Op 166 it was very relaxing and worked very well together but i really disliked Edison Denisov's Sonata for saxophone and piano because they attempted to mimic each other's notes and it sounded quite disjointed. Overall there were some parts i enjoyed and some I did not.<br />
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==Activity #6 Tate Britain==<br />
After a nice and relaxing day of working on my milestones at the British Library, I jumped back into the museum journey. Unfortunately, I feel the strong need to keep continuing on with the milestones since I am progressing very well. So we went to the [[Tate Britain| Tate Britain]] and the time period paintings from the 1500’s to the late 1800s were a lot of portraits of military, literary, and royal figures. But after that time period, many pictures contained that of which involved social movements. There was one piece in particular that covered the grunge movement which was a confusing flow diagram called “The History of the World” by Jeremy Deller that distinguishes one's problems covered by bass bands and an acid house. It highlighted the social and political issues that were dealt with during the Grunge era. I also got to see the newest commission at the museum called [[Tate Britain # Forms in Space…by Light (in Time)| Forms in Space…by Light (in Time)]] by [[Tate Britain # Cerith Wyn Evans| Cerith Wyn Evans]]. It was an interesting piece that utilized light as that medium and space as a canvas. Overall I am pretty museum out and really would not like to look at another aristocrat portrait for a while.<br />
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After going to the Tate Britain, a group of us decided to go see David Tennant in ''Don Juan in SoHo''. It was in a smaller theater that has a classic proscenium theater, which created an intimate feeling even with standing room "seats". The show was a modern take on the classic Don Juan and it was definitely very modern. During intermission, we took a look at the projection systems and lighting and determined that they used S4's with less dispersion do to the fact it was such a small stage. Also we determined that the amazing projection was done by three offstage projectors and an unknown number of projectors onstage. It was amazing to be able to reason through all of design and technical features. <br />
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==Activity #7 Victoria and Albert Museum==<br />
Today we took a trip to the beautiful South Kensington area to visit the [[Victoria and Albert Museum | Victoria and Albert Museum]]. My first impression of the building was that it is massive and very ornately decorated. In the lobby was an amazing blown glass structure that spanned many feet long. I really enjoyed the ornate [[Victoria and Albert Museum # Islamic Middle East| Islamic Middle Eastern]] artwork that ranged from tiles to silk and pottery. The calligraphy was so artfully done and was seen as a work of art due to its intricateness. I also saw an exhibit on theater and performance, which covered almost all of my milestone. I saw amazing diagrams of different set designs, costumes, books, and drawings that all pertain to the behind the scenes nature of my milestone. I only really concentrated on the parts of the museum that pertained to my project due to the fact that the museum is so large. <br />
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==Activity #8 Tate Modern==<br />
Today was a visit just over the bridge at the [[Tate Modern| Tate Modern]]. Unlike most of the other museums, the Tate modern had a very modern and architectural feel to it. It was not at all ornate and had many of the structural beams and hanging lights showing. Personally, I have a limited perspective on modern art. I usually cannot see the meaning in blank canvas or a random piece of wood that I can find in the woods. I have been known to make jeers at modern are also. This has been seen recently when I was doing a modern interpretation of an ice cream cone and correlating it to the coldness of society. However, surprisingly I did find some of the art absolutely breathtaking and full of meaning. I also feel that the backstory behind much of the artwork gives it more meaning. Some of the exhibits I did enjoy were [[Tate Modern #Abstraction and Society| Abstraction and Society]] and optical illusions. They Abstraction and Society display depicted social issues and problems through a different view that demands you full attention. All of those works relate to the grunge movement and how they decoded the problems with society in their lyrics. However even after going to many great parts of the museum I still felt that some pieces could be done by myself, one of little to no artistic talent. Overall, I feel that these museums are lovely and a great cultural experience, but I really need more time to research and write my milestones. I find it very difficult to go to the museum for half the day, write the journal and articles, and then go to the library to start working on the milestone at around 1 or 2 PM till 6 PM, eat dinner and work on it some more. I need more time to add more detail to my project. <br />
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==Activity #9 Museum of London==<br />
The [[Museum of London| Museum of London]] was much smaller than I anticipated. It had the history of London from the prehistoric times to present day. It did have a tiny section that talked about Shakespeare and other playwrights from London but did not talk about any of the technical aspects of theater. Otherwise, there was nothing else that covered my milestones. I did enjoy the part of the museum that covered Roman London because I enjoyed the versatility of the [[Museum of London#Amphitheater| amphitheater]]. It reminded me of the movie Gladiator with Russel Crow. I am ready for the weekend to continue working on my milestones. <br />
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==Activity #10 Imperial War Museum==<br />
Today we went to the [[Imperial War Museum| Imperial War Museum]], which was right across the Thames River. The museum was surrounded by a green a luscious park with many flowers and plants. In the front of the museum, is a walkway boarded by a lavender that leads up to two huge cannons. The design of the museum was also cool with large columns. The entry of the museum was an amazing sight with all of the different planes and such suspended in the air. I made me think of a museum near me called the Cradle of Aviation because of they also had suspended planes but they were about air travel. <br />
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While walking through the museum, I really enjoyed how they had each level dedicated to a different topic. A number of artifacts they had was amazing. I was really interested in WWII and loved how it was from the British point of view because I remember learning it from an American point of view. It also went chronologically with it ending in the war on terrorism and they had a piece of mangled metal from the Twin Towers, which was very sad because of the impact it had on the United States. I also found the exhibit about the Holocaust extremely haunting and sad. However, it was one of the most complete exhibits I have seen on the Holocaust. On the fifth floor (which was really really high), there was an exhibit on the bravery of those fighting in the British Army. It talked about many brave men and women such as [[Imperial War Museum#Joan Daphne Mary Pearson| Joan Daphne Mary Pearson]] and [[Imperial War Museum#Kamal Ram| Kamal Ram]], who risked their lives for the betterment of their country. <br />
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==Activity #11 Museum of London Docklands==<br />
Today we all woke up with the horrific news of the bombing in the Manchester Arena and it is so unnerving to know that no matter where you are in the world there will always be bad people in this world. The train ride was very quiet and somber. <br />
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The [[Museum of London Docklands| Museum of London Docklands]] is located a pretty far distance away and is like 4 too many miles to walk, but I really liked how it was on the “Isle of Dogs”. It’s such an interesting name! Anyways, like the [[Museum of London| Museum of London]], I found this museum catered to a younger crowd, like elementary school students. So a lot of the information was at an elementary level. There were many great parts of the museum that talked about its history, slavery and its rectification, and many maritime things. I really like how they incorporated the [[Canary Warf| Canary Warf]] into the museum’s history. The Canary Warf is so pretty and you can tell it would be an awesome to be on a Friday night.<br />
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==Activity #12 Horniman Museum==<br />
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Traveling even further than we did yesterday we are making our way to the [[Horniman Museum| Horniman Museum]]. It is way too far to walk, but it was only a train and bus ride away. A lot of these places required a decent amount of travel and I am pretty low on the oyster card, so I guess I am going to have to top up soon. However, the museum was in this suburban area and it was really nice to be out of the city. I grew up in suburbia so it was nice to not be so crowded with little store fronts and homes with back yards. Side note, I really like British expressions like top up and cheerio they are just really interesting terms. Now I digress to the actual museum experience.<br />
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So the museum itself is very pretty and is surrounded by luscious fields and [[Horniman Museum#The Gardens| Gardens]]. There were two main exhibits in the museum with one being about evolution and domestication. That part contained a lot of taxidermy animals, birds, and lizards, which was kind of sad because I saw some of my favorite animals stuffed. The next part was the collection of musical instruments. It was pretty cool to see all of the instruments from many different time periods. I also learned and saw instruments from the [[Music Exhibit at the Horniman Musuem#Seasonal Round: Haslemere Festival | Seasonal Round: Haslemere Festival]]. My favorite part was the Garden because they were so peaceful. <br />
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==Activity #13 Hampton Court Palace==<br />
To begin with I will be keeping this journal relatively shot due to time constraints of travel and other her. Today we visited the [[Hampton Court Palace| Hampton Court Palace]] in Zone 6 or better known as a place far far away. It was a really amazing place with a lot of history. I really liked how each in the entrance of the palace there was the coat of arms. I really didn’t get to go to many places but I did make my way to the playground, which was amazing. So my maturity level is at about the age of 2 and a half so I therefore had to go on it. It was awesome!<br />
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==Activity #14 The Wallace Collection==<br />
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Today, after a long and relaxing bank holiday weekend is a day that begins the milestone grind. I really enjoyed this weekend off from work to just explore and have fun. This week is really crunch time with only 3 weeks left and a lot of work left. At [[The Wallace Collection]] there were many paintings and such from the 18th and 19th centuries. It was a lot of amazing collection of artwork, statuary, and armory. I in particular really enjoyed the armory the most because I find the ancient weapons very fascinating. They had medieval swords with faded engravings and ornamental swords meant for display. The collection also housed a large amount of horse armor, which included a gothic piece from the 15th century. There was a lovely exhibit in the basement that allowed visitors to try on a chainmail headpiece and chest piece. They altogether weighed approximately 45 pounds and took a tremendous amount of effort to lift. It was really amazing to think that this place was once a home. <br />
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==Activity #15 London Science Museum ==<br />
The next adventure was to [[London Science Museum | London Science Museum]], which was in one of my favorite parts of London, Kensington. I really enjoyed this place due to the fact that it contained a lot of engineering related items and exhibits. Don’t get me wrong are great and all, however, it was nice to have the breath of fresh air while looking at engineering related exhibits. The night prior a group of us decided to go to the late night at the science museum where they were featuring robots or all shapes and sizes. It was amazing to see the huge array of robots taking over and a number of people interested in the event. They had so many cool exhibitions and I even got to create a robot head with LED lights for eyes. The museum itself contains so many different topics ranging from space to clocks to planes and much more. I found the [[London Science Museum#Wounded, Conflict, Casualties, and Care| Wounded, Conflict, Casualties, and Care]] exhibit very humbling and fascinating they talked about the treatment and how they would get help when injured. It makes me thankful that I am not in that potions and thank my lucky stars for the people who sacrificed their lives for our sakes. <br />
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==Activity #16 Romeo and Juliet==<br />
We went to see [[Shakespeare’s Romeo and Juliet at the Globe Theater (2017)|Romeo and Juliet]] at the Globe Theater. The ambiance was great except for the fact that it was cold and down pouring for the first half of the show. I mean like full on drenching type of rain. We were all cold and wet, but it was awesome to be right in front of the stage where the orchestra would be. I felt like I was at a rock concert awaiting a mosh pit. Anyway, when we read the description of the play we knew that this would be a very modern take on the show and that was only reaffirmed when we saw some of the actors getting ready with modern clothing and white face makeup. The show started out with actors dressed in very modern clothing dancing and speaking their lines to rap and hip-hop music, which was very interesting. They wore makeup that makes them look like clowns, which was, quite frankly, pretty scary. They also did some gender bending with Mercutio’s character. From a technical point of view, the lighting was very reliant on the on stage LEDS and S4’s. There were many lights being used as spots attached to the seating balconies and the sound was also attached there. The props were very simple and added to the idea of the play. I feel they did take the show to a very dark place, which is where it should be due to the fact that it is a tragedy. I really liked how the actors were not afraid to break character on stage and that could be seen when Mercutio tossed her beating stick and it flew off stage in the back through an open window. She asked if she could get it back and it didn’t come back so she went on and when it came back on stage she incorporated it into the scene. My one critique was that the actress that was playing Juliet was way too old (not being ageist at all), even with her makeup on you could tell that she was much older that the actor playing Romeo. She was supposed to be 14 in the show but you could tell she was around 40 and he was 25 or so. But even so, the show seemed to be one long drug induced trip. It was creepy and weird, but I really enjoyed it. <br><br />
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==Activity #17 Stonehedge==<br />
Our farthest trip as a group definitely has to do be our trip to [[Stonehenge| Stonehenge]]. So Stonehenge is in the middle of nowhere right next to some pastoral fields with large burial mounds. Honestly, if you did not know that they were there you would definitely drive right past them without a second thought. From the road the stones seem pretty small and insignificant, but up close they were pretty large. It was interesting to learn that this rock formation was created thousands of years ago. It is thought to have been sacred grounds where religious practices occurred. The extremely heavy stones were thought to be brought from over 200 miles away without the wheel having been created yet. It is definitely was an amazing feat that is many thousands of years before its time. We then went to Bath, which is this amazing little town that has a hot spring. It was cute and quaint with a beautiful abbey. After Bath, we visited the location where they filmed some of Harry Potter. It was really cool and a very small village that had a small population. Overall it was an amazing trip with an amazing tour guide. <br />
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==Activity #18 Windsor Castle==<br />
[[Windsor Castle| Windsor Castle]] was pretty cool. It was composed of many different parts with it stretching more than 20 tennis courts long. When we first stepped in they did a full body and bag scan, it was like going through airport security. The security makes sense due to the fact that we are visiting the residence of the Queen. We visited the drawing rooms, dollhouse, and chapel, which were all meticulously done. They were all ornately decorated with eloquently carved crown molding, gold, crystal, and paintings. I keep a count of how many dogs I could spot in the picture and found 7. Overall, most of the residence was blocked off and it took a little less than an hour to complete. I did not think it was worth it because it took us two hours to get there and we only spent an hour there. Also, it cost us almost 20 pounds to do the trip. So if there was more to see and it cost less then I would feel that it would be worth the journey and money. <br />
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===My Complete Contributions===<br />
The journal section should end with the following link to your complete contributions (new articles, edited articles, added media, etc.)<br />
====[[Special:Contributions/Kfconroy|All of My Created Content and Edits]]====<br />
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[[Category:Profiles]]<br />
[[Category:2017]]<br />
[[Category:Advisor:Manzo]]</div>Kfconroyhttps://londonhuawiki.wpi.edu/index.php?title=User:Kfconroy&diff=19113User:Kfconroy2017-06-22T12:11:33Z<p>Kfconroy: </p>
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<div>=Katharine Conroy=<br />
[[File: kat.jpg|x350px|right|frameless|thumb|Katharine Conroy]]<br><br />
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=Overview=<br />
The paragraph should give a three to five sentence abstract about your entire London HUA experience including 1) a summary of the aims of your project, 2) your prior experience with humanities and arts courses and disciplines, and 3) your major takeaways from the experience. <br />
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=Milestone 1 Music Theory behind Grunge Music=<br />
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'''Music Theory behind Grunge Music'''<br><br />
'''Objective:''' <br />
Analysis of the the key musical elements to Grunge music. <br />
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This project is meant to introduce those who enjoy music to the music theory or backbone of music that makes it sounds a certain way or gives it a certain emotion. Music is defined by its elements, which allows a certain genre of music sounds different than another. So, I distinguished four important elements of music and did an in-depth analysis of each with a comparison of grunge to popular rock music of that time. From that analysis, I then produced a guide to producing my own gunge song with examples of what I would do.<br />
In my research, I found that grunge was more covered as a social and ethical topic with little being covered about the music itself. It was difficult to find much on the elements of music in respect to the grunge genre itself, but I did find some info on it under the umbrella of alternative. I discovered that its sound and style was primarily based off of the music’s harmony with the rhythm, form, and dynamics still very important to its overall sound. But, there was no real pattern to the music. Together in had a unique sound due to the harmonic practices, but what really kept the genre a genre was the music’s attitude and the taboo topics it tried to address. Each artist has its own unique style and sound but they all fell into the same genre. This project needs more research to fully grasp the musical differences between grunge music and the popular rock of the time. <br />
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[[Music Theory behind Grunge Music|Read More]] <br />
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=Milestone 2 Theater in London=<br />
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'''Theater in London'''<br> <br />
'''Objective:'''<br />
Looking at the behind the scenes work that goes into a theater show. <br><br><br />
Have you ever wondered about the behind the scene magic that goes into creating a play or musical? There is a tremendous amount of work, blood, sweat, and tears that go into producing a show for the stage. It takes a village to put on a show of any magnitude. So for the Theater in London milestone, we focused on the behind the scene departments that make the show a success. The main departments that we felt were very important were scenic, props, lighting, hair and makeup, sound, costumes, and poster and promotion. Without any of these, the show would not be able to go on due to the fact that all of them are crucial to the visual effects of the show. We each specialized in specific departments to learn the history, techniques and uses in a show. After we understood the nuances of these departments, we then watched “The Play that Goes Wrong” at the Duchess Theater here in London to see how they utilized each department. From that, we took inspiration for our own interpretation of the play. We utilized what we learned and incorporated it into our designs for scenic, props, lighting, hair and makeup, sound, costumes, and poster and promotion. We learned a lot about our respective departments and there was a copious amount of information for many of the departments. However, some like props and poster and promotion were quite as well documented but we found more current day information on them. This milestone is a culmination of our passions for the theater. <br />
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[[Theater Beyond the Actors|Read More]] <br />
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=Milestone 3 Grunge Music in London=<br />
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'''Grunge Music in London'''<br><br />
'''Objective:''' A comparison of London and American grunge music that depicts the key differences and similarities.<br />
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This project is meant to be used as an introduction to the misunderstood genre of grunge, which dominated the music scene during the late 1980’s and early 1990’s. To help those unfamiliar with grunge music, I explored the genera and covered it in its entirety. This started with its birth in Seattle, Washington to its impact on society. In my research, I found that grunge music gained almost a cult following beginning in Seattle, Washington that it spread throughout the United States to many other places such as London, England. However, bands that appeared out of the grunge movement from London did not make it as big in London as they did in the United States. United States grunge bands became more popular than their British counterparts. In my research, I did an analysis of popular grunge songs from both the United States and the London area to create a short deconstructed “mixtape” with the purpose of introducing grunge music to a person who has never listened to the music before. I then described what makes these songs grunge and the reason I choose them. I concluded that grunge music was more of an American genera that spread like wildfire throughout the world, but it was influential to the bands of London also. This milestone is my music capstone and it is an analysis of an entire genre of music that took place in both the United States and London. <br />
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[[Grunge in London|Read More]] <br />
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=Activity Journal=<br />
The activity journal represents an ongoing log of reflections gained through each and every project activity on the calendar. <br />
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==Activity #1 Westminster Abbey and The Tower of London==<br />
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Today was the first official day of our time here in London! Still, a bit jet lagged, we started our time here at one of London’s most famous churches, [[Westminster Abbey| Westminster Abbey]] or the Collegiate Church of St. Peter at Westminster. Many know this location as the place where many royals have celebrations such as coronations and weddings. In my most recent memory, I remember all of the excitement when Prince William and Kate Middleton got married at that exact spot. So as I roamed the great size of the church, I looked at all of the magnificent details on all of the tombs, craving, and statuary. The stained glass was also breathtaking and detailed depicting many monarchs and religious figures. However, my favorite part of the Westminster Abbey was the [[Tomb of the Unknown Warrior| Tomb of the Unknown Warrior]]. It showed that no matter what class you were you would still be judged just the same under the eyes of God. <br />
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After the trip to Westminster Abbey, we went to see the [[Tower of London| Tower of London]]. It housed many precious items such as the Royal [[Crown Jewels| Crown Jewels]], the armory, and torture devices also known as instruments of persuasion. As I walked through the castle I realized how important their history and tradition was. The monarchy is very devout to their traditions with many dating back hundreds of years. An extension of this would be the Yeomen or Beefeaters, who can be seen safeguarding the crown jewels. Originally my original impression of the Beefeaters was that they were people who were dressed in traditional garb to simulate the past uniform style, but when I asked a lady from information, she informed me that they were highly trained ex-military. This was very surprising and added greatly to my experience. After the first day of actives in London, I was very exhausted but also still very excited to see what was in store for me in the upcoming weeks.<br />
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==Activity #2 St. Paul's Cathedral==<br />
Today we went to see the [[St. Paul's Cathedral | St. Paul's Cathedral ]], which is part of the Anglican faith. This cathedral was gorgeous with its murals, mosaics and baroque style. the baroque style was very unusual for an Anglican Church due to the fact that is was used frequently by the Roman Catholic church, which it split with when the pope denied King Henry the VIII a marriage annulment. <br />
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When I first walked in, I saw the huge baptismal font that is used during the christening of those seeking the faith. There were also wonderful icons of Jesus and Madonna and Child that I have only been able to see in textbooks or online. The Nave was filled with statues in memory of famous was generals.Then, once you are done gawking at the sight in front, you to gaze up at the ceiling and you realize the magnitude of the cathedral. The journey up to the [[St. Paul's Cathedral#Whispering Gallery|Whispering Gallery]] was very tedious up to those stairs but it was really cool to look down onto the ground below. However, I am terrified of heights so let’s just say the ceiling was very pretty from that height! Overall, I thought that it was some of the most impressive artwork I have ever seen. <br />
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==Activity #3 British Museum==<br />
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The journey we took today brought us to one of the first places we met our advisor during our first day out and about; the [[British Museum |British Museum]]. When walking past the museum, you can see its Greek architecture filled with columns and arches. The whole museum is decorated with ornate crown moldings and tray ceilings, which add to the openness of the rooms. However, unlike most of the sights seen so far, most of the exhibits are artifacts instead of a places to explore. It very much felt like the MET with all of the exhibits emphasizing different times in history and all that they had to offer. <br />
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My favorite exhibit of the museum was the one featuring the [[British Museum#Mesopotamia|Mesopotamia]] region. This exhibit brought me back to sixth grade when I first learned about this region. I saw many tablets with writing in cuneiform, which I remember learning as a kid. It was really cool to see new and different artifacts there. I even got to see the Rosetta Stone, which I remember being a huge deal because it was used to decode other ancient languages. There were also some elements of the museum that kind of had something to do with my theatre milestone, due to the fact that there were ancient artifacts such as masques. This showed the early roots of both theater, where masks were often used to depict characters. Overall I really enjoyed the museum because it brought me back to a wonderful time of my life.<br />
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==Activity #4 Natural History Museum==<br />
I was very excited about going to the [[Natural History Museum| Natural History Museum]]! I absolutely adore going to these types of museums due to the fact that they contain a myriad of exhibits with different exhibitions. The exterior and interior of the building is filled with a mix of roman and gothic architecture, which gave the area a feeling of openness and spaciousness. <br />
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When walking in, I immediately thought about my favorite museum The American Museum of Natural History in New York City. I sent a lot of my childhood and teen life exploring the place I called home. There was always something new and cool to see and it had my favorite prehistoric friends the dinosaurs too. So on arrival, I expedited my way to the dinosaurs and more specifically the [[Natural History Museum#Prehistoric Sea Dinosaurs|prehistoric sea dinosaurs]]. They had a huge collection of [[Natural History Museum #Pliosaurs (Rhomaleosaurus cramptoni)|pliosaurs]] fossils and some ichthyosaurus too. It honestly reminded me of the movie Land Before Time: Journey to Big Water. They also had a animatronic T-Rex which I found really amazing! But in comparison to the American Museum of Natural History, I feel it does not have as many really big dinosaurs (though I may just be biased). <br />
Pertaining to my project, I did see a picture of the Nirvana cover Nevermind, which shows the impact that grunge music had on London culture. Overall, found the museum very different then I originally thought. It focused mainly on a lot of different animals, reptiles, and geological topics, which made this a unique experience.<br />
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==Activity #4 National Gallery and Lunchtime concert==<br />
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Today, I saw [[The National Gallery| The National Gallery]] and it was really disappointing due to the fact that my favorite artist, Monet and all of the Impressionists, were closed today. I really enjoy the impressionists because of the way they see the world. In their works of art, they provide nature and people in their everyday lives. They are not staged and contained many colors and movements. Another artist I was looking forward to was [[The National Gallery# Johannes Vermeer| Johannes Vermeer]], but they only had one of the three paintings available. I remember reading a book in second grade called Chasing Vermeer, so I was really interested in seeing a few of his paintings, but the one that was there was very intricately painted and contained a lot of symbolism. <br />
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We also saw a concert at the [[St Martin-in-the-Feilds|St Martins of the Feilds]], which was really awesome. The concert was played by Nikolay Ponomarev who played the piano. I personally really enjoy listening to music and differentiating the styles of composers, so I was excited by the list of songs on the program. The Transcendental Etude No. 10 in F Minor by Franz Liszt had a very heavy and somber sound to it while as Etude No 10, Op25 in B minor by Chopin has more of a light and airy texture to it. It reminded me of sitting in my music history class in high school and the analysis of these songs to understand where the composer was trying to communicate. <br />
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==Activity #5 Lunchtime concert==<br />
We went to see another concert at [[St Martin-in-the-Feilds|St Martins of the Feilds]], which had a duet between both a saxophonist and pianist. At first glance that combination of instruments sounds pretty interesting, but the way the pieces were written they complemented each other quite well. The pianist was a young woman named Christine Zerafa and young man on the sax was Philip Attard. They were both highly accomplished players representing the Royal Over-Seas League. I really enjoyed Saint Saëns's Sonata Op 166 it was very relaxing and worked very well together but i really disliked Edison Denisov's Sonata for saxophone and piano because they attempted to mimic each other's notes and it sounded quite disjointed. Overall there were some parts i enjoyed and some I did not.<br />
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==Activity #6 Tate Britain==<br />
After a nice and relaxing day of working on my milestones at the British Library, I jumped back into the museum journey. Unfortunately, I feel the strong need to keep continuing on with the milestones since I am progressing very well. So we went to the [[Tate Britain| Tate Britain]] and the time period paintings from the 1500’s to the late 1800s were a lot of portraits of military, literary, and royal figures. But after that time period, many pictures contained that of which involved social movements. There was one piece in particular that covered the grunge movement which was a confusing flow diagram called “The History of the World” by Jeremy Deller that distinguishes one's problems covered by bass bands and an acid house. It highlighted the social and political issues that were dealt with during the Grunge era. I also got to see the newest commission at the museum called [[Tate Britain # Forms in Space…by Light (in Time)| Forms in Space…by Light (in Time)]] by [[Tate Britain # Cerith Wyn Evans| Cerith Wyn Evans]]. It was an interesting piece that utilized light as that medium and space as a canvas. Overall I am pretty museum out and really would not like to look at another aristocrat portrait for a while.<br />
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After going to the Tate Britain, a group of us decided to go see David Tennant in ''Don Juan in SoHo''. It was in a smaller theater that has a classic proscenium theater, which created an intimate feeling even with standing room "seats". The show was a modern take on the classic Don Juan and it was definitely very modern. During intermission, we took a look at the projection systems and lighting and determined that they used S4's with less dispersion do to the fact it was such a small stage. Also we determined that the amazing projection was done by three offstage projectors and an unknown number of projectors onstage. It was amazing to be able to reason through all of design and technical features. <br />
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==Activity #7 Victoria and Albert Museum==<br />
Today we took a trip to the beautiful South Kensington area to visit the [[Victoria and Albert Museum | Victoria and Albert Museum]]. My first impression of the building was that it is massive and very ornately decorated. In the lobby was an amazing blown glass structure that spanned many feet long. I really enjoyed the ornate [[Victoria and Albert Museum # Islamic Middle East| Islamic Middle Eastern]] artwork that ranged from tiles to silk and pottery. The calligraphy was so artfully done and was seen as a work of art due to its intricateness. I also saw an exhibit on theater and performance, which covered almost all of my milestone. I saw amazing diagrams of different set designs, costumes, books, and drawings that all pertain to the behind the scenes nature of my milestone. I only really concentrated on the parts of the museum that pertained to my project due to the fact that the museum is so large. <br />
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==Activity #8 Tate Modern==<br />
Today was a visit just over the bridge at the [[Tate Modern| Tate Modern]]. Unlike most of the other museums, the Tate modern had a very modern and architectural feel to it. It was not at all ornate and had many of the structural beams and hanging lights showing. Personally, I have a limited perspective on modern art. I usually cannot see the meaning in blank canvas or a random piece of wood that I can find in the woods. I have been known to make jeers at modern are also. This has been seen recently when I was doing a modern interpretation of an ice cream cone and correlating it to the coldness of society. However, surprisingly I did find some of the art absolutely breathtaking and full of meaning. I also feel that the backstory behind much of the artwork gives it more meaning. Some of the exhibits I did enjoy were [[Tate Modern #Abstraction and Society| Abstraction and Society]] and optical illusions. They Abstraction and Society display depicted social issues and problems through a different view that demands you full attention. All of those works relate to the grunge movement and how they decoded the problems with society in their lyrics. However even after going to many great parts of the museum I still felt that some pieces could be done by myself, one of little to no artistic talent. Overall, I feel that these museums are lovely and a great cultural experience, but I really need more time to research and write my milestones. I find it very difficult to go to the museum for half the day, write the journal and articles, and then go to the library to start working on the milestone at around 1 or 2 PM till 6 PM, eat dinner and work on it some more. I need more time to add more detail to my project. <br />
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==Activity #9 Museum of London==<br />
The [[Museum of London| Museum of London]] was much smaller than I anticipated. It had the history of London from the prehistoric times to present day. It did have a tiny section that talked about Shakespeare and other playwrights from London but did not talk about any of the technical aspects of theater. Otherwise, there was nothing else that covered my milestones. I did enjoy the part of the museum that covered Roman London because I enjoyed the versatility of the [[Museum of London#Amphitheater| amphitheater]]. It reminded me of the movie Gladiator with Russel Crow. I am ready for the weekend to continue working on my milestones. <br />
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==Activity #10 Imperial War Museum==<br />
Today we went to the [[Imperial War Museum| Imperial War Museum]], which was right across the Thames River. The museum was surrounded by a green a luscious park with many flowers and plants. In the front of the museum, is a walkway boarded by a lavender that leads up to two huge cannons. The design of the museum was also cool with large columns. The entry of the museum was an amazing sight with all of the different planes and such suspended in the air. I made me think of a museum near me called the Cradle of Aviation because of they also had suspended planes but they were about air travel. <br />
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While walking through the museum, I really enjoyed how they had each level dedicated to a different topic. A number of artifacts they had was amazing. I was really interested in WWII and loved how it was from the British point of view because I remember learning it from an American point of view. It also went chronologically with it ending in the war on terrorism and they had a piece of mangled metal from the Twin Towers, which was very sad because of the impact it had on the United States. I also found the exhibit about the Holocaust extremely haunting and sad. However, it was one of the most complete exhibits I have seen on the Holocaust. On the fifth floor (which was really really high), there was an exhibit on the bravery of those fighting in the British Army. It talked about many brave men and women such as [[Imperial War Museum#Joan Daphne Mary Pearson| Joan Daphne Mary Pearson]] and [[Imperial War Museum#Kamal Ram| Kamal Ram]], who risked their lives for the betterment of their country. <br />
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==Activity #11 Museum of London Docklands==<br />
Today we all woke up with the horrific news of the bombing in the Manchester Arena and it is so unnerving to know that no matter where you are in the world there will always be bad people in this world. The train ride was very quiet and somber. <br />
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The [[Museum of London Docklands| Museum of London Docklands]] is located a pretty far distance away and is like 4 too many miles to walk, but I really liked how it was on the “Isle of Dogs”. It’s such an interesting name! Anyways, like the [[Museum of London| Museum of London]], I found this museum catered to a younger crowd, like elementary school students. So a lot of the information was at an elementary level. There were many great parts of the museum that talked about its history, slavery and its rectification, and many maritime things. I really like how they incorporated the [[Canary Warf| Canary Warf]] into the museum’s history. The Canary Warf is so pretty and you can tell it would be an awesome to be on a Friday night.<br />
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==Activity #12 Horniman Museum==<br />
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Traveling even further than we did yesterday we are making our way to the [[Horniman Museum| Horniman Museum]]. It is way too far to walk, but it was only a train and bus ride away. A lot of these places required a decent amount of travel and I am pretty low on the oyster card, so I guess I am going to have to top up soon. However, the museum was in this suburban area and it was really nice to be out of the city. I grew up in suburbia so it was nice to not be so crowded with little store fronts and homes with back yards. Side note, I really like British expressions like top up and cheerio they are just really interesting terms. Now I digress to the actual museum experience.<br />
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So the museum itself is very pretty and is surrounded by luscious fields and [[Horniman Museum#The Gardens| Gardens]]. There were two main exhibits in the museum with one being about evolution and domestication. That part contained a lot of taxidermy animals, birds, and lizards, which was kind of sad because I saw some of my favorite animals stuffed. The next part was the collection of musical instruments. It was pretty cool to see all of the instruments from many different time periods. I also learned and saw instruments from the [[Music Exhibit at the Horniman Musuem#Seasonal Round: Haslemere Festival | Seasonal Round: Haslemere Festival]]. My favorite part was the Garden because they were so peaceful. <br />
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==Activity #13 Hampton Court Palace==<br />
To begin with I will be keeping this journal relatively shot due to time constraints of travel and other her. Today we visited the [[Hampton Court Palace| Hampton Court Palace]] in Zone 6 or better known as a place far far away. It was a really amazing place with a lot of history. I really liked how each in the entrance of the palace there was the coat of arms. I really didn’t get to go to many places but I did make my way to the playground, which was amazing. So my maturity level is at about the age of 2 and a half so I therefore had to go on it. It was awesome!<br />
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==Activity #14 The Wallace Collection==<br />
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Today, after a long and relaxing bank holiday weekend is a day that begins the milestone grind. I really enjoyed this weekend off from work to just explore and have fun. This week is really crunch time with only 3 weeks left and a lot of work left. At [[The Wallace Collection]] there were many paintings and such from the 18th and 19th centuries. It was a lot of amazing collection of artwork, statuary, and armory. I in particular really enjoyed the armory the most because I find the ancient weapons very fascinating. They had medieval swords with faded engravings and ornamental swords meant for display. The collection also housed a large amount of horse armor, which included a gothic piece from the 15th century. There was a lovely exhibit in the basement that allowed visitors to try on a chainmail headpiece and chest piece. They altogether weighed approximately 45 pounds and took a tremendous amount of effort to lift. It was really amazing to think that this place was once a home. <br />
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==Activity # Revisit a Relevant Site ==<br />
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So today was the day that I was supposed to revisit a relevant site, however none of the sights really had to do much to do with my niche topic of Grunge Music. So I decided to continue reading articles and writing my milestones to make more progress. I chose a topic that was not really ever explored in the museums that we visited because it also only happened in the last 30 years, which is why most of my research has been competed using online resources. I am making good progress and am working slowly but surely. <br />
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==Activity #15 London Science Museum ==<br />
The next adventure was to [[London Science Museum | London Science Museum]], which was in one of my favorite parts of London, Kensington. I really enjoyed this place due to the fact that it contained a lot of engineering related items and exhibits. Don’t get me wrong are great and all, however, it was nice to have the breath of fresh air while looking at engineering related exhibits. The night prior a group of us decided to go to the late night at the science museum where they were featuring robots or all shapes and sizes. It was amazing to see the huge array of robots taking over and a number of people interested in the event. They had so many cool exhibitions and I even got to create a robot head with LED lights for eyes. The museum itself contains so many different topics ranging from space to clocks to planes and much more. I found the [[London Science Museum#Wounded, Conflict, Casualties, and Care| Wounded, Conflict, Casualties, and Care]] exhibit very humbling and fascinating they talked about the treatment and how they would get help when injured. It makes me thankful that I am not in that potions and thank my lucky stars for the people who sacrificed their lives for our sakes. <br />
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==Activity #16 Romeo and Juliet==<br />
We went to see [[Shakespeare’s Romeo and Juliet at the Globe Theater (2017)|Romeo and Juliet]] at the Globe Theater. The ambiance was great except for the fact that it was cold and down pouring for the first half of the show. I mean like full on drenching type of rain. We were all cold and wet, but it was awesome to be right in front of the stage where the orchestra would be. I felt like I was at a rock concert awaiting a mosh pit. Anyway, when we read the description of the play we knew that this would be a very modern take on the show and that was only reaffirmed when we saw some of the actors getting ready with modern clothing and white face makeup. The show started out with actors dressed in very modern clothing dancing and speaking their lines to rap and hip-hop music, which was very interesting. They wore makeup that makes them look like clowns, which was, quite frankly, pretty scary. They also did some gender bending with Mercutio’s character. From a technical point of view, the lighting was very reliant on the on stage LEDS and S4’s. There were many lights being used as spots attached to the seating balconies and the sound was also attached there. The props were very simple and added to the idea of the play. I feel they did take the show to a very dark place, which is where it should be due to the fact that it is a tragedy. I really liked how the actors were not afraid to break character on stage and that could be seen when Mercutio tossed her beating stick and it flew off stage in the back through an open window. She asked if she could get it back and it didn’t come back so she went on and when it came back on stage she incorporated it into the scene. My one critique was that the actress that was playing Juliet was way too old (not being ageist at all), even with her makeup on you could tell that she was much older that the actor playing Romeo. She was supposed to be 14 in the show but you could tell she was around 40 and he was 25 or so. But even so, the show seemed to be one long drug induced trip. It was creepy and weird, but I really enjoyed it. <br><br />
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==Activity #17 Stonehedge==<br />
Our farthest trip as a group definitely has to do be our trip to [[Stonehenge| Stonehenge]]. So Stonehenge is in the middle of nowhere right next to some pastoral fields with large burial mounds. Honestly, if you did not know that they were there you would definitely drive right past them without a second thought. From the road the stones seem pretty small and insignificant, but up close they were pretty large. It was interesting to learn that this rock formation was created thousands of years ago. It is thought to have been sacred grounds where religious practices occurred. The extremely heavy stones were thought to be brought from over 200 miles away without the wheel having been created yet. It is definitely was an amazing feat that is many thousands of years before its time. We then went to Bath, which is this amazing little town that has a hot spring. It was cute and quaint with a beautiful abbey. After Bath, we visited the location where they filmed some of Harry Potter. It was really cool and a very small village that had a small population. Overall it was an amazing trip with an amazing tour guide. <br />
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==Activity #18 Windsor Castle==<br />
[[Windsor Castle| Windsor Castle]] was pretty cool. It was composed of many different parts with it stretching more than 20 tennis courts long. When we first stepped in they did a full body and bag scan, it was like going through airport security. The security makes sense due to the fact that we are visiting the residence of the Queen. We visited the drawing rooms, dollhouse, and chapel, which were all meticulously done. They were all ornately decorated with eloquently carved crown molding, gold, crystal, and paintings. I keep a count of how many dogs I could spot in the picture and found 7. Overall, most of the residence was blocked off and it took a little less than an hour to complete. I did not think it was worth it because it took us two hours to get there and we only spent an hour there. Also, it cost us almost 20 pounds to do the trip. So if there was more to see and it cost less then I would feel that it would be worth the journey and money. <br />
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===My Complete Contributions===<br />
The journal section should end with the following link to your complete contributions (new articles, edited articles, added media, etc.)<br />
====[[Special:Contributions/Kfconroy|All of My Created Content and Edits]]====<br />
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[[Category:Profiles]]<br />
[[Category:2017]]<br />
[[Category:Advisor:Manzo]]</div>Kfconroyhttps://londonhuawiki.wpi.edu/index.php?title=User:Kfconroy&diff=19107User:Kfconroy2017-06-22T12:10:09Z<p>Kfconroy: </p>
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<div>=Katharine Conroy=<br />
[[File: kat.jpg|x350px|right|frameless|thumb|Katharine Conroy]]<br><br />
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=Overview=<br />
The paragraph should give a three to five sentence abstract about your entire London HUA experience including 1) a summary of the aims of your project, 2) your prior experience with humanities and arts courses and disciplines, and 3) your major takeaways from the experience. <br />
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=Milestone 1 Music Theory behind Grunge Music=<br />
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'''Music Theory behind Grunge Music'''<br><br />
'''Objective:''' <br />
Analysis of the the key musical elements to Grunge music. <br />
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This project is meant to introduce those who enjoy music to the music theory or backbone of music that makes it sounds a certain way or gives it a certain emotion. Music is defined by its elements, which allows a certain genre of music sounds different than another. So, I distinguished four important elements of music and did an in-depth analysis of each with a comparison of grunge to popular rock music of that time. From that analysis, I then produced a guide to producing my own gunge song with examples of what I would do.<br />
In my research, I found that grunge was more covered as a social and ethical topic with little being covered about the music itself. It was difficult to find much on the elements of music in respect to the grunge genre itself, but I did find some info on it under the umbrella of alternative. I discovered that its sound and style was primarily based off of the music’s harmony with the rhythm, form, and dynamics still very important to its overall sound. But, there was no real pattern to the music. Together in had a unique sound due to the harmonic practices, but what really kept the genre a genre was the music’s attitude and the taboo topics it tried to address. Each artist has its own unique style and sound but they all fell into the same genre. This project needs more research to fully grasp the musical differences between grunge music and the popular rock of the time. <br />
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[[Music Theory behind Grunge Music|Read More]] <br />
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=Milestone 2 Theater in London=<br />
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'''Theater in London'''<br> <br />
'''Objective:'''<br />
Looking at the behind the scenes work that goes into a theater show. <br><br><br />
Have you ever wondered about the behind the scene magic that goes into creating a play or musical? There is a tremendous amount of work, blood, sweat, and tears that go into producing a show for the stage. It takes a village to put on a show of any magnitude. So for the Theater in London milestone, we focused on the behind the scene departments that make the show a success. The main departments that we felt were very important were scenic, props, lighting, hair and makeup, sound, costumes, and poster and promotion. Without any of these, the show would not be able to go on due to the fact that all of them are crucial to the visual effects of the show. We each specialized in specific departments to learn the history, techniques and uses in a show. After we understood the nuances of these departments, we then watched “The Play that Goes Wrong” at the Duchess Theater here in London to see how they utilized each department. From that, we took inspiration for our own interpretation of the play. We utilized what we learned and incorporated it into our designs for scenic, props, lighting, hair and makeup, sound, costumes, and poster and promotion. We learned a lot about our respective departments and there was a copious amount of information for many of the departments. However, some like props and poster and promotion were quite as well documented but we found more current day information on them. This milestone is a culmination of our passions for the theater. <br />
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[[Theater Beyond the Actors|Read More]] <br />
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=Milestone 3 Grunge Music in London=<br />
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'''Grunge Music in London'''<br><br />
'''Objective:''' A comparison of London and American grunge music that depicts the key differences and similarities.<br />
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This project is meant to be used as an introduction to the misunderstood genre of grunge, which dominated the music scene during the late 1980’s and early 1990’s. To help those unfamiliar with grunge music, I explored the genera and covered it in its entirety. This started with its birth in Seattle, Washington to its impact on society. In my research, I found that grunge music gained almost a cult following beginning in Seattle, Washington that it spread throughout the United States to many other places such as London, England. However, bands that appeared out of the grunge movement from London did not make it as big in London as they did in the United States. United States grunge bands became more popular than their British counterparts. In my research, I did an analysis of popular grunge songs from both the United States and the London area to create a short deconstructed “mixtape” with the purpose of introducing grunge music to a person who has never listened to the music before. I then described what makes these songs grunge and the reason I choose them. I concluded that grunge music was more of an American genera that spread like wildfire throughout the world, but it was influential to the bands of London also. This milestone is my music capstone and it is an analysis of an entire genre of music that took place in both the United States and London. <br />
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[[Grunge in London|Read More]] <br />
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=Activity Journal=<br />
The activity journal represents an ongoing log of reflections gained through each and every project activity on the calendar. <br />
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==Activity #1 Westminster Abbey and The Tower of London==<br />
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Today was the first official day of our time here in London! Still, a bit jet lagged, we started our time here at one of London’s most famous churches, [[Westminster Abbey| Westminster Abbey]] or the Collegiate Church of St. Peter at Westminster. Many know this location as the place where many royals have celebrations such as coronations and weddings. In my most recent memory, I remember all of the excitement when Prince William and Kate Middleton got married at that exact spot. So as I roamed the great size of the church, I looked at all of the magnificent details on all of the tombs, craving, and statuary. The stained glass was also breathtaking and detailed depicting many monarchs and religious figures. However, my favorite part of the Westminster Abbey was the [[Tomb of the Unknown Warrior| Tomb of the Unknown Warrior]]. It showed that no matter what class you were you would still be judged just the same under the eyes of God. <br />
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After the trip to Westminster Abbey, we went to see the [[Tower of London| Tower of London]]. It housed many precious items such as the Royal [[Crown Jewels| Crown Jewels]], the armory, and torture devices also known as instruments of persuasion. As I walked through the castle I realized how important their history and tradition was. The monarchy is very devout to their traditions with many dating back hundreds of years. An extension of this would be the Yeomen or Beefeaters, who can be seen safeguarding the crown jewels. Originally my original impression of the Beefeaters was that they were people who were dressed in traditional garb to simulate the past uniform style, but when I asked a lady from information, she informed me that they were highly trained ex-military. This was very surprising and added greatly to my experience. After the first day of actives in London, I was very exhausted but also still very excited to see what was in store for me in the upcoming weeks.<br />
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==Activity #2 St. Paul's Cathedral==<br />
Today we went to see the [[St. Paul's Cathedral | St. Paul's Cathedral ]], which is part of the Anglican faith. This cathedral was gorgeous with its murals, mosaics and baroque style. the baroque style was very unusual for an Anglican Church due to the fact that is was used frequently by the Roman Catholic church, which it split with when the pope denied King Henry the VIII a marriage annulment. <br />
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When I first walked in, I saw the huge baptismal font that is used during the christening of those seeking the faith. There were also wonderful icons of Jesus and Madonna and Child that I have only been able to see in textbooks or online. The Nave was filled with statues in memory of famous was generals.Then, once you are done gawking at the sight in front, you to gaze up at the ceiling and you realize the magnitude of the cathedral. The journey up to the [[St. Paul's Cathedral#Whispering Gallery|Whispering Gallery]] was very tedious up to those stairs but it was really cool to look down onto the ground below. However, I am terrified of heights so let’s just say the ceiling was very pretty from that height! Overall, I thought that it was some of the most impressive artwork I have ever seen. <br />
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==Activity #3 British Museum==<br />
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The journey we took today brought us to one of the first places we met our advisor during our first day out and about; the [[British Museum |British Museum]]. When walking past the museum, you can see its Greek architecture filled with columns and arches. The whole museum is decorated with ornate crown moldings and tray ceilings, which add to the openness of the rooms. However, unlike most of the sights seen so far, most of the exhibits are artifacts instead of a places to explore. It very much felt like the MET with all of the exhibits emphasizing different times in history and all that they had to offer. <br />
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My favorite exhibit of the museum was the one featuring the [[British Museum#Mesopotamia|Mesopotamia]] region. This exhibit brought me back to sixth grade when I first learned about this region. I saw many tablets with writing in cuneiform, which I remember learning as a kid. It was really cool to see new and different artifacts there. I even got to see the Rosetta Stone, which I remember being a huge deal because it was used to decode other ancient languages. There were also some elements of the museum that kind of had something to do with my theatre milestone, due to the fact that there were ancient artifacts such as masques. This showed the early roots of both theater, where masks were often used to depict characters. Overall I really enjoyed the museum because it brought me back to a wonderful time of my life.<br />
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==Activity #4 Natural History Museum==<br />
I was very excited about going to the [[Natural History Museum| Natural History Museum]]! I absolutely adore going to these types of museums due to the fact that they contain a myriad of exhibits with different exhibitions. The exterior and interior of the building is filled with a mix of roman and gothic architecture, which gave the area a feeling of openness and spaciousness. <br />
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When walking in, I immediately thought about my favorite museum The American Museum of Natural History in New York City. I sent a lot of my childhood and teen life exploring the place I called home. There was always something new and cool to see and it had my favorite prehistoric friends the dinosaurs too. So on arrival, I expedited my way to the dinosaurs and more specifically the [[Natural History Museum#Prehistoric Sea Dinosaurs|prehistoric sea dinosaurs]]. They had a huge collection of [[Natural History Museum #Pliosaurs (Rhomaleosaurus cramptoni)|pliosaurs]] fossils and some ichthyosaurus too. It honestly reminded me of the movie Land Before Time: Journey to Big Water. They also had a animatronic T-Rex which I found really amazing! But in comparison to the American Museum of Natural History, I feel it does not have as many really big dinosaurs (though I may just be biased). <br />
Pertaining to my project, I did see a picture of the Nirvana cover Nevermind, which shows the impact that grunge music had on London culture. Overall, found the museum very different then I originally thought. It focused mainly on a lot of different animals, reptiles, and geological topics, which made this a unique experience.<br />
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==Activity #4 National Gallery and Lunchtime concert==<br />
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Today, I saw [[The National Gallery| The National Gallery]] and it was really disappointing due to the fact that my favorite artist, Monet and all of the Impressionists, were closed today. I really enjoy the impressionists because of the way they see the world. In their works of art, they provide nature and people in their everyday lives. They are not staged and contained many colors and movements. Another artist I was looking forward to was [[The National Gallery# Johannes Vermeer| Johannes Vermeer]], but they only had one of the three paintings available. I remember reading a book in second grade called Chasing Vermeer, so I was really interested in seeing a few of his paintings, but the one that was there was very intricately painted and contained a lot of symbolism. <br />
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We also saw a concert at the [[St Martin-in-the-Feilds|St Martins of the Feilds]], which was really awesome. The concert was played by Nikolay Ponomarev who played the piano. I personally really enjoy listening to music and differentiating the styles of composers, so I was excited by the list of songs on the program. The Transcendental Etude No. 10 in F Minor by Franz Liszt had a very heavy and somber sound to it while as Etude No 10, Op25 in B minor by Chopin has more of a light and airy texture to it. It reminded me of sitting in my music history class in high school and the analysis of these songs to understand where the composer was trying to communicate. <br />
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==Activity #5 Lunchtime concert==<br />
We went to see another concert at [[St Martin-in-the-Feilds|St Martins of the Feilds]], which had a duet between both a saxophonist and pianist. At first glance that combination of instruments sounds pretty interesting, but the way the pieces were written they complemented each other quite well. The pianist was a young woman named Christine Zerafa and young man on the sax was Philip Attard. They were both highly accomplished players representing the Royal Over-Seas League. I really enjoyed Saint Saëns's Sonata Op 166 it was very relaxing and worked very well together but i really disliked Edison Denisov's Sonata for saxophone and piano because they attempted to mimic each other's notes and it sounded quite disjointed. Overall there were some parts i enjoyed and some I did not.<br />
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==Activity #6 Tate Britain==<br />
After a nice and relaxing day of working on my milestones at the British Library, I jumped back into the museum journey. Unfortunately, I feel the strong need to keep continuing on with the milestones since I am progressing very well. So we went to the [[Tate Britain| Tate Britain]] and the time period paintings from the 1500’s to the late 1800s were a lot of portraits of military, literary, and royal figures. But after that time period, many pictures contained that of which involved social movements. There was one piece in particular that covered the grunge movement which was a confusing flow diagram called “The History of the World” by Jeremy Deller that distinguishes one's problems covered by bass bands and an acid house. It highlighted the social and political issues that were dealt with during the Grunge era. I also got to see the newest commission at the museum called [[Tate Britain # Forms in Space…by Light (in Time)| Forms in Space…by Light (in Time)]] by [[Tate Britain # Cerith Wyn Evans| Cerith Wyn Evans]]. It was an interesting piece that utilized light as that medium and space as a canvas. Overall I am pretty museum out and really would not like to look at another aristocrat portrait for a while.<br />
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After going to the Tate Britain, a group of us decided to go see David Tennant in ''Don Juan in SoHo''. It was in a smaller theater that has a classic proscenium theater, which created an intimate feeling even with standing room "seats". The show was a modern take on the classic Don Juan and it was definitely very modern. During intermission, we took a look at the projection systems and lighting and determined that they used S4's with less dispersion do to the fact it was such a small stage. Also we determined that the amazing projection was done by three offstage projectors and an unknown number of projectors onstage. It was amazing to be able to reason through all of design and technical features. <br />
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==Activity #7 Victoria and Albert Museum==<br />
Today we took a trip to the beautiful South Kensington area to visit the [[Victoria and Albert Museum | Victoria and Albert Museum]]. My first impression of the building was that it is massive and very ornately decorated. In the lobby was an amazing blown glass structure that spanned many feet long. I really enjoyed the ornate [[Victoria and Albert Museum # Islamic Middle East| Islamic Middle Eastern]] artwork that ranged from tiles to silk and pottery. The calligraphy was so artfully done and was seen as a work of art due to its intricateness. I also saw an exhibit on theater and performance, which covered almost all of my milestone. I saw amazing diagrams of different set designs, costumes, books, and drawings that all pertain to the behind the scenes nature of my milestone. I only really concentrated on the parts of the museum that pertained to my project due to the fact that the museum is so large. <br />
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==Activity #8 Tate Modern==<br />
Today was a visit just over the bridge at the [[Tate Modern| Tate Modern]]. Unlike most of the other museums, the Tate modern had a very modern and architectural feel to it. It was not at all ornate and had many of the structural beams and hanging lights showing. Personally, I have a limited perspective on modern art. I usually cannot see the meaning in blank canvas or a random piece of wood that I can find in the woods. I have been known to make jeers at modern are also. This has been seen recently when I was doing a modern interpretation of an ice cream cone and correlating it to the coldness of society. However, surprisingly I did find some of the art absolutely breathtaking and full of meaning. I also feel that the backstory behind much of the artwork gives it more meaning. Some of the exhibits I did enjoy were [[Tate Modern #Abstraction and Society| Abstraction and Society]] and optical illusions. They Abstraction and Society display depicted social issues and problems through a different view that demands you full attention. All of those works relate to the grunge movement and how they decoded the problems with society in their lyrics. However even after going to many great parts of the museum I still felt that some pieces could be done by myself, one of little to no artistic talent. Overall, I feel that these museums are lovely and a great cultural experience, but I really need more time to research and write my milestones. I find it very difficult to go to the museum for half the day, write the journal and articles, and then go to the library to start working on the milestone at around 1 or 2 PM till 6 PM, eat dinner and work on it some more. I need more time to add more detail to my project. <br />
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==Activity #9 Museum of London==<br />
The [[Museum of London| Museum of London]] was much smaller than I anticipated. It had the history of London from the prehistoric times to present day. It did have a tiny section that talked about Shakespeare and other playwrights from London but did not talk about any of the technical aspects of theater. Otherwise, there was nothing else that covered my milestones. I did enjoy the part of the museum that covered Roman London because I enjoyed the versatility of the [[Museum of London#Amphitheater| amphitheater]]. It reminded me of the movie Gladiator with Russel Crow. I am ready for the weekend to continue working on my milestones. <br />
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==Activity #10 Imperial War Museum==<br />
Today we went to the [[Imperial War Museum| Imperial War Museum]], which was right across the Thames River. The museum was surrounded by a green a luscious park with many flowers and plants. In the front of the museum, is a walkway boarded by a lavender that leads up to two huge cannons. The design of the museum was also cool with large columns. The entry of the museum was an amazing sight with all of the different planes and such suspended in the air. I made me think of a museum near me called the Cradle of Aviation because of they also had suspended planes but they were about air travel. <br />
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While walking through the museum, I really enjoyed how they had each level dedicated to a different topic. A number of artifacts they had was amazing. I was really interested in WWII and loved how it was from the British point of view because I remember learning it from an American point of view. It also went chronologically with it ending in the war on terrorism and they had a piece of mangled metal from the Twin Towers, which was very sad because of the impact it had on the United States. I also found the exhibit about the Holocaust extremely haunting and sad. However, it was one of the most complete exhibits I have seen on the Holocaust. On the fifth floor (which was really really high), there was an exhibit on the bravery of those fighting in the British Army. It talked about many brave men and women such as [[Imperial War Museum#Joan Daphne Mary Pearson| Joan Daphne Mary Pearson]] and [[Imperial War Museum#Kamal Ram| Kamal Ram]], who risked their lives for the betterment of their country. <br />
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==Activity #11 Museum of London Docklands==<br />
Today we all woke up with the horrific news of the bombing in the Manchester Arena and it is so unnerving to know that no matter where you are in the world there will always be bad people in this world. The train ride was very quiet and somber. <br />
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The [[Museum of London Docklands| Museum of London Docklands]] is located a pretty far distance away and is like 4 too many miles to walk, but I really liked how it was on the “Isle of Dogs”. It’s such an interesting name! Anyways, like the [[Museum of London| Museum of London]], I found this museum catered to a younger crowd, like elementary school students. So a lot of the information was at an elementary level. There were many great parts of the museum that talked about its history, slavery and its rectification, and many maritime things. I really like how they incorporated the [[Canary Warf| Canary Warf]] into the museum’s history. The Canary Warf is so pretty and you can tell it would be an awesome to be on a Friday night.<br />
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==Activity #12 Horniman Museum==<br />
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Traveling even further than we did yesterday we are making our way to the [[Horniman Museum| Horniman Museum]]. It is way too far to walk, but it was only a train and bus ride away. A lot of these places required a decent amount of travel and I am pretty low on the oyster card, so I guess I am going to have to top up soon. However, the museum was in this suburban area and it was really nice to be out of the city. I grew up in suburbia so it was nice to not be so crowded with little store fronts and homes with back yards. Side note, I really like British expressions like top up and cheerio they are just really interesting terms. Now I digress to the actual museum experience.<br />
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So the museum itself is very pretty and is surrounded by luscious fields and [[Horniman Museum#The Gardens| Gardens]]. There were two main exhibits in the museum with one being about evolution and domestication. That part contained a lot of taxidermy animals, birds, and lizards, which was kind of sad because I saw some of my favorite animals stuffed. The next part was the collection of musical instruments. It was pretty cool to see all of the instruments from many different time periods. I also learned and saw instruments from the [[Music Exhibit at the Horniman Musuem#Seasonal Round: Haslemere Festival | Seasonal Round: Haslemere Festival]]. My favorite part was the Garden because they were so peaceful. <br />
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==Activity #13 Hampton Court Palace==<br />
To begin with I will be keeping this journal relatively shot due to time constraints of travel and other her. Today we visited the [[Hampton Court Palace| Hampton Court Palace]] in Zone 6 or better known as a place far far away. It was a really amazing place with a lot of history. I really liked how each in the entrance of the palace there was the coat of arms. I really didn’t get to go to many places but I did make my way to the playground, which was amazing. So my maturity level is at about the age of 2 and a half so I therefore had to go on it. It was awesome!<br />
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==Activity #14 The Wallace Collection==<br />
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Today, after a long and relaxing bank holiday weekend is a day that begins the milestone grind. I really enjoyed this weekend off from work to just explore and have fun. This week is really crunch time with only 3 weeks left and a lot of work left. At [[The Wallace Collection]] there were many paintings and such from the 18th and 19th centuries. It was a lot of amazing collection of artwork, statuary, and armory. I in particular really enjoyed the armory the most because I find the ancient weapons very fascinating. They had medieval swords with faded engravings and ornamental swords meant for display. The collection also housed a large amount of horse armor, which included a gothic piece from the 15th century. There was a lovely exhibit in the basement that allowed visitors to try on a chainmail headpiece and chest piece. They altogether weighed approximately 45 pounds and took a tremendous amount of effort to lift. It was really amazing to think that this place was once a home. <br />
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==Activity # Revisit a Relevant Site ==<br />
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So today was the day that I was supposed to revisit a relevant site, however none of the sights really had to do much to do with my niche topic of Grunge Music. So I decided to continue reading articles and writing my milestones to make more progress. I chose a topic that was not really ever explored in the museums that we visited because it also only happened in the last 30 years, which is why most of my research has been competed using online resources. I am making good progress and am working slowly but surely. <br />
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==Activity #15 London Science Museum ==<br />
The next adventure was to [[London Science Museum | London Science Museum]], which was in one of my favorite parts of London, Kensington. I really enjoyed this place due to the fact that it contained a lot of engineering related items and exhibits. Don’t get me wrong are great and all, however, it was nice to have the breath of fresh air while looking at engineering related exhibits. The night prior a group of us decided to go to the late night at the science museum where they were featuring robots or all shapes and sizes. It was amazing to see the huge array of robots taking over and a number of people interested in the event. They had so many cool exhibitions and I even got to create a robot head with LED lights for eyes. The museum itself contains so many different topics ranging from space to clocks to planes and much more. I found the [[London Science Museum#Wounded, Conflict, Casualties, and Care| Wounded, Conflict, Casualties, and Care]] exhibit very humbling and fascinating they talked about the treatment and how they would get help when injured. It makes me thankful that I am not in that potions and thank my lucky stars for the people who sacrificed their lives for our sakes. <br />
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==Activity #16 Romeo and Juliet==<br />
We went to see Romeo and Juliet at the Globe Theater. The ambiance was great except for the fact that it was cold and down pouring for the first half of the show. I mean like full on drenching type of rain. We were all cold and wet, but it was awesome to be right in front of the stage where the orchestra would be. I felt like I was at a rock concert awaiting a mosh pit. Anyway, when we read the description of the play we knew that this would be a very modern take on the show and that was only reaffirmed when we saw some of the actors getting ready with modern clothing and white face makeup. The show started out with actors dressed in very modern clothing dancing and speaking their lines to rap and hip-hop music, which was very interesting. They wore makeup that makes them look like clowns, which was, quite frankly, pretty scary. They also did some gender bending with Mercutio’s character. From a technical point of view, the lighting was very reliant on the on stage LEDS and S4’s. There were many lights being used as spots attached to the seating balconies and the sound was also attached there. The props were very simple and added to the idea of the play. I feel they did take the show to a very dark place, which is where it should be due to the fact that it is a tragedy. I really liked how the actors were not afraid to break character on stage and that could be seen when Mercutio tossed her beating stick and it flew off stage in the back through an open window. She asked if she could get it back and it didn’t come back so she went on and when it came back on stage she incorporated it into the scene. My one critique was that the actress that was playing Juliet was way too old (not being ageist at all), even with her makeup on you could tell that she was much older that the actor playing Romeo. She was supposed to be 14 in the show but you could tell she was around 40 and he was 25 or so. But even so, the show seemed to be one long drug induced trip. It was creepy and weird, but I really enjoyed it. <br><br />
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==Activity #17 Stonehedge==<br />
Our farthest trip as a group definitely has to do be our trip to [[Stonehenge| Stonehenge]]. So Stonehenge is in the middle of nowhere right next to some pastoral fields with large burial mounds. Honestly, if you did not know that they were there you would definitely drive right past them without a second thought. From the road the stones seem pretty small and insignificant, but up close they were pretty large. It was interesting to learn that this rock formation was created thousands of years ago. It is thought to have been sacred grounds where religious practices occurred. The extremely heavy stones were thought to be brought from over 200 miles away without the wheel having been created yet. It is definitely was an amazing feat that is many thousands of years before its time. We then went to Bath, which is this amazing little town that has a hot spring. It was cute and quaint with a beautiful abbey. After Bath, we visited the location where they filmed some of Harry Potter. It was really cool and a very small village that had a small population. Overall it was an amazing trip with an amazing tour guide. <br />
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==Activity #18 Windsor Castle==<br />
[[Windsor Castle| Windsor Castle]] was pretty cool. It was composed of many different parts with it stretching more than 20 tennis courts long. When we first stepped in they did a full body and bag scan, it was like going through airport security. The security makes sense due to the fact that we are visiting the residence of the Queen. We visited the drawing rooms, dollhouse, and chapel, which were all meticulously done. They were all ornately decorated with eloquently carved crown molding, gold, crystal, and paintings. I keep a count of how many dogs I could spot in the picture and found 7. Overall, most of the residence was blocked off and it took a little less than an hour to complete. I did not think it was worth it because it took us two hours to get there and we only spent an hour there. Also, it cost us almost 20 pounds to do the trip. So if there was more to see and it cost less then I would feel that it would be worth the journey and money. <br />
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===My Complete Contributions===<br />
The journal section should end with the following link to your complete contributions (new articles, edited articles, added media, etc.)<br />
====[[Special:Contributions/Kfconroy|All of My Created Content and Edits]]====<br />
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[[Category:Profiles]]<br />
[[Category:2017]]<br />
[[Category:Advisor:Manzo]]</div>Kfconroyhttps://londonhuawiki.wpi.edu/index.php?title=Music_Theory_behind_Grunge_Music&diff=19061Music Theory behind Grunge Music2017-06-22T11:55:44Z<p>Kfconroy: </p>
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by [[User:Kfconroy|Katharine Conory]]<br><br />
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{{Infobox<br />
|title = Music Theory behind Grunge Music <br />
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=Abstract=<br />
The objective of this milestone is to take all that I have learned from my [[Grunge in London|Grunge in London]] Capstone to analyze the music through the lens of music theory. I was able to see what grunge music has to offer by way of harmony, rhythm, dynamics, and form, which are some of the elements of all music. For my deliverable, I took all that I learned from this analysis of grunge music from a music theory background to create my own guide to what a grunge song would contain in the way of harmony, rhythm, dynamics and form with examples of what I would do. <br> <br><br />
For this project, I drew back on my past experience with music theory and my violin background. This is slightly challenging due to the fact that harmony for a violin is much simpler for a violin than a guitar. In high school, I took several music classes and was in both chorus and band. I hope to gain more knowledge about music theory and help others understand music as well. <br />
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=Introduction=<br />
This project is meant to introduce those who enjoy music to the music theory or backbone of music that makes it sounds a certain way or gives it a certain emotion. Music is defined by its elements, which allows a certain genre of music sounds different than another. So, I distinguished four important elements of music and did an in-depth analysis of each with a comparison of grunge to popular rock music of that time. From that analysis, I then produced a guide to producing gunge songs from a satirical background with examples of what I would do. <br> <br><br />
In my research, I found that grunge was more covered as a social and ethical topic with little being covered about the music itself. It was difficult to find much on the elements of music in respect to the grunge genre itself, but I did find some info on it under the umbrella of alternative. I discovered that its sound and style was primarily based off of the music’s harmony with the rhythm, form, and dynamics still very important to its overall sound. But, there was no real pattern to the music. Together in had a unique sound due to the harmonic practices, but what really kept the genre a genre was the music’s attitude and the taboo topics it tried to address. Each artist has its own unique style and sound but they all fell into the same genre. This project needs more research to fully grasp the musical differences between grunge music and the popular rock of the time. <br />
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=Section 1: Background=<br />
Grunge was a style choice, a cultural movement and most importantly a music style that appeared in the late 1980’s to the early 1990’s, which songs had focused on topics of a taboo nature such as alienation, depression, and suicide. The movement focused on using their music to enlighten those around them about the problems that they were suffering from, which resonated very well with the youth who were also facing many of those issues. It was very popular and topped many of the more well-known artists. It had a new an appealing sound that differed from the rock and pop music of day. Grunge music is considered to be a sub-genre of rock with heavy overlap with other rock subgenres such as alternative, metal, and punk <ref> STRONG, C. (2016). GRUNGE: music and memory. S.l.: ROUTLEDGE. </ref>.The music contained a dirty and raw sound guitar sound, which gave the genre its name. This music has a significant effect on the culture of the Seattle area where is was started, which is no surprise due to the fact that music has always been a major component of cultural changes in society. There have been many scholarly articles citing its importance and during this time there was a major shift in attitudes towards the world and the people who lived in it, which emphasized the feelings correlated to alienation, depression, and suicide. However one may ask how music, subtracting the lyrics, could evoke such feelings, which in fact brings me to the focus of this capstone; the music theory behind grunge music that gave it its unique sound. <br><br> <br />
The music theory behind grunge music will explain how this music became so unique, but this calls into question of the definition music. In the most literal idea, one can see music as “vibrations in the air that are observed by us and then interpreted as sounds. These sounds play out over time, meaning that music is, therefore, sound over time” <ref> Samama, L., & Clements, D. (2016). What is music? In The Meaning of Music (pp. 27-31). Amsterdam University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/j.ctt1b9x1ts.5</ref>. However, that is way too literal and would infer that all sounds are music like all paintings are works of art. Music is way more sophisticated and can be seen as “multi-dimensional (and a) multimedia phenomenon’’ <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017.</ref>. Therefore music is grouped into seven different elements, which are rhythm, dynamics, melody, harmony, tone color, texture, and form to help identify the key differences between grunge music and say rap. These elements added to the sound and identity of the genre, so much so it stood out from the rest of the alternative genre, which grunge was a subgenre of, during that era. Below I have chosen 4 elements I feel distinguished the grunge genre of from that which was popular during the 1990’s and created the special sound to the music that allowed the artists to express their emotions. <br><br> <br />
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==Musical Elements ==<br />
===Harmony === <br />
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Harmony is very important to the creation of music, due to the fact it the way notes are played in relation to each other. This is a very technical and complex element of music that can be fairly hard to understand, so it is important to start at the beginning. There are seven notes in all of the music, not including all of the flats and sharps, A, B, C, D, E, F, G and these are the building blocks on which songs can then be built. The full list of notes which contain all the flats (b) and sharps (#) starting at A is '''A''', A#/Bb, '''B''', C, '''C#/Db''', '''D''', D#/Eb, '''E''', F, '''F#/Gb''', G, '''G#/Ab''', '''A''' and follows a pattern of 2212221, which gives a scale of A major. The pattern is followed by the bolded letters produces A, B, C#, D, E, F#, G#, and A as the A Major Scale. From the scale, one can then produce all of the chords that can be made from that key. A chord is several notes played together to that are separated by thirds, which produce notes that complement each other very well. The chords for an A major key would contain AC#E I (major), BDF# ii (minor), C#EG# iii (minor), DF#A IV (major), EG#B V (major), F#AC# vi (minor), G#BD vii0 (diminished). To form these 3 note chords, one takes the scale and starts at the first note in the scale, which in our case is A. Then, skip the next note, B, and chose C# to do this again for the third and last note of the chord. Your final chord will be AC#E, which is a major chord and they you do it for B, C#, etc. for the rest of the chords until you come back to your original note A. The chords are in a pattern of major, minor, minor, major, major, minor, and diminished, which are shown by the capitalized Roman numerals rather than the lower case ones and the 0 at the end means diminished. Another name this goes by is diatonic harmony and all this is the way notes relate with each other in a certain key. All of this can be replicated for all of the other keys in music to get chords. These chords then can be played in succession after one another and produce a chord progression. Some commonly used chord progressions in the key of A are ADE (I – IV- V) and BEA (ii-V-I). These chords and chord progression are what creates the harmony in the song and they are often used in term of how harsh they sound. The harshness of chords is quantified into dissonance and consonance. Dissonance is a very harsh sounding harmony and its chords known for creating tension in a piece. Consonance is a smooth sounding harmony that creates consonant chords, which resolves tension created by the dissonant chords. Chords are very important to music because it truly creates the mood of the music. More dissonant sounding music sounds almost unstable, eerie and sad. A really good example is Mozart’s Quartetto K. 465 "delle dissonanze". One can hear the very dissonant beginning and then throughout the rest of the piece, one can hear how dissonance is resolved by consonance (The Elements Of Music, 2017, p. 3). <htmltag tagname="iframe" id= width="200" height="150" src="https://www.youtube.com/embed/08uY0-ehL-w" frameborder="0" allowfullscreen></htmltag> <br />
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In grunge music, harmony played a large part in creating its aesthetic and sound. This music was very powerful and was known to use “power chords” (McDonald, 2000, p.355) as a “set of harmonic practices that rock musicians, particularly those who participate in the domain of guitar-oriented 'alternative' rock, have been using” (McDonald, 2000, p.355) <ref> McDonald, C. (2000). Exploring modal subversions in alternative music. Popular Music, 19(3), 355-363. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/853641 </ref>. These musicians were trying to break the mold of rock and alternative music so they tried new practices such as distorting the guitar’s sounds and choosing unique chord combinations. An example of this was the change of the power chords, which are normally fifths or fourths (McDonald, 2000, p.356). However, do to the heavy guitar distortion, created by overloading the signal into the amplifier, it created a more complex sound that allowed more sound to come from the notes played. This distortion allowed chords done in thirds to have a richer and fuller sounds and as a byproduct created a very dissonant sound (Biamonte, 2010, p. 97). Another in interesting part to grunge’s harmony was its use of “third or cross relations” (McDonald, 2000, p.357) that allows songs that were written in the key of A major and as we determined before C# would be the C note used, however in grunge music the C would incongruently change a minor third to C5 or Cb. This is what author Chris McDonald calls “modal subversion” (McDonald, 2000, p.357). It used constantly in these songs and an example of it would be in “Smells like Teen Spirit” by Nirvana. In this song the key is in F minor and in that scale A is natural but in “Smells like Teen Spirit” the A modulates to Ab (Osborn, 2013, 31) <ref> Osborn, B. (2013). Subverting the Verse–Chorus paradigm; terminally climactic forms in recent rock music. Music Theory Spectrum, 35(1), 23-47. doi:10.1525/mts.2013.35.1.23 <br />
</ref>. This a common theme in many grunge songs and gives its unique sounds, aesthetic, and emotion. <br />
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=== Rhythm ===<br />
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In music, the rhythm of a song is the time in which a song is played. This can be seen when a person is tapping one’s foot to the beat. The rhythm of the song is very important in creating the emotions of the song due to the fact that it determines how fast the piece is going to be. Encompassed in rhythm are sub-topics of duration, tempo, and meter, which helps the listener and musician to follow the structure of the piece. Rhythm tends to be more the technical part of the song but it carries much importance because without it the song would be a mess of lyrics and instruments without direction. So the duration is the length of time between each note and silence. It is used to bring attention to a certain section of the song because a very long note or silence is jarring to the listener. A silence can bring emphasis to the next note and add a complexity to the tempo of the song. The meter of the song is the repetition of accents and stresses that are arranged into the recognizable beat of the song. In a song, the accented notes tend to be the first note of the measure, however, to create more drama many artists utilize syncopation or the putting of accents on off-beats. The meter is emphasized by the song’s tempo or speed at which the beat is played. It is often known as beats per minute (bpm). The tempo of the song determines the level of excitement and mood of the song. It has been said by Gow that “the time-pattern upon his attention must be the excuse for the common conception of rhythm as the emotional element in music” (Gow, 1915, p. 637) or in layman terms. The pattern of sound, silence, and speed adds significantly to the emotions and feeling drawn from the piece so it is imperative that the artist uses the correct rhythm and tempo for the desired effect. An example of this would be how slow blues music tends to be around the 60 bpm and rock and roll music tends to be about 175 bpm. (Gow, 1915, p. 637- 642)<ref> Gow, G. (1915). Rhythm: The Life of Music. The Musical Quarterly, 1(4), 637-652. Retrieved from http://www.jstor.org/stable/738071 </ref> <br />
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Grunge music is all about the aesthetic of the music and many times it is difficult to derive the meaning of the lyrics due to the vocal quality or symbolic meaning of the lyrics. So it’s imperative to set the right tone via the rhythm because without that the song could be changed from a very dark and emotional piece to one that sounds happy and light. Therefore, the duration of the notes and silences have to create drama and angst. The meter must accentuate the right beat and word of the lyrics to make them pop. One consistency round most grunge music is its timed meter, which was 4/4 time or four beats per measure. The emphasis on notes tended to be inconsistent though because it was really dependent on the lyrics. Some songs did use accents of off-beats to draw more attention to one part or another. Meter also creates the structure to the song. Without that the song has very similar and boring notes with no structure. The tempo has to give the song the right attitude. So in grunge music artists wanted a tempo to reflect sadness and depression that they often felt, but they but they wanted to be interesting and attention grabbing. So many artist chooses tempos from around 90-120 (bpm) there was no exact range to the tempos. It was really up to the musician’s ear. However, one can tell that the artist chose the right tempo, if the emotions were portrayed foremost in the music. A good example would be to speed up or slow down a grunge song.<br />
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When that is done, ignoring the higher pitch of Cobain's voice, it is obvious that one will not get the same emphasis on themes of the music leaving the song useless to the artist. The grunge artist needed the aesthetic of angst and pain to drip from the lyrics to get his point across. <br />
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=== Dynamics ===<br />
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The dynamics of a song is the loudness and or softness at which the song is played at. A song can be played very loudly, fortissimo, or very softly, pianissimo, and it would create a different interpretation of the song. Some genres of music tend to produce quieter music while others like to blast their audience with their music. An artist can also have a range of volumes with many choosing sections of their song to be quieter to emphasize the words or the music’s complexity and others sections being softer to portray emotions. Sometimes the artist wants to create a buildup of tension in the song so he or she will use a crescendo, getting louder, or a decrescendo, getting softer to achieve it. Another part of dynamics, which was touched on in rhythm, is accenting a note or “leaning into a note” <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017. </ref> and it creates a unique sound. It is important to use dynamics because it keeps the music interesting. A lovely example that many people have probably heard before would be in Richard Strauss's Also Sprach Zarathustra, Op. 30. <br><br />
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It starts our pianissimo and then crescendos to fortissimo until it is absolutely blaring. These dynamics are meant to grab the attention of the audience and awaken anyone who has fallen asleep during the very quiet part. Dynamics are an important part of the music creation process due to the fact that a combination of these dynamics creates the genre's signature style. Hardcore rock is known to bombard their audience with sound while other genres such as country tend to have a moderate volume. <br />
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Dynamics is another really important element in grunge music because it can be used as an emphasis on particular parts of the song. The song could go from a verse of quiet reflection to a chorus of raging anger. This element is interlinked with all of the other elements to create the song the way that artist meant to portray it. Many of the grunge artists use dynamics to emphasize the themes of the song. So while many songs of the grunge genre do tend to vacillate between very loud and quiet, not every song does. It all depends on the themes and emotions of the songs. An example of the differences would be comparing the dynamics of Black Hole Sun by Soundgarden and Glycerine by Bush. They are both classified under the genre of grunge music, but they have totally different dynamics. In Black Hole Sun, the first verse starts out pretty quiet to emphasize the almost euphoric nature of words and the invisibility the singer feels. Then in the chorus, there is a large increase in volume which tries to capture the anger and pain of his invisibility. However, in Glycerine, the verse starts out pretty quiet and has a mournful tone and it crescendos ever so slightly into the chorus which is still mournful plus a bit remorseful also. The dynamics are used in grunge as an emphasis on certain feelings and emotions and though some do have a pattern of a quietverse and loud chorus some use other dynamics to get their point across. <br />
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=== Form ===<br />
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In music, the element of form is a combination of the repetition, contrast, and continuity that creates a song’s uniqueness. The form is very dependent on the other elements of music because it is the way the music is arranged. There is a mixture of musical ideas that are carefully arranged to create the meaning behind the music, which is illustrated when the chorus, speaking both lyrically and instrumentally, is repeated. To differentiate the diversions in music, letters such as A, B, C, are used. This is used determine the slight variation in musical patterns. Repetition is often utilized in form to set the theme of the song. This is seen when the chorus is repeated or the verse lyrics change and music stays the same. Repetition in music is known to create continuity and is usually done with a catchy chorus. Contrarily when there is a change or contrast in music, it is often used to note a shift in mood. The form includes a myriad of types including strophic, binary, verse/chorus song, and ternary forms. These types of forms are derived from the repetition, contrast, and continuity referred to previously. The strophic form is when the same music is repeated over and over for several verses of music. This is the most basic form, which lacks contrast and is all repetition. The message the song is trying to portray is usually very elementary. In the binary form, there are two parts. It uses contrast to highlight the question answer music phrasing between the similar phrasing contrasting section. A combination between the binary and strophic forms is the Verse/ Chorus Song form. It alternates between the storytelling verses, which contain different lyrics each verse, and the recurring chorus. <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017</ref>. It creates the feeling of familiarity and allows for many ideas and feelings to be told and then reiterated in the chorus, which is very important in grunge music. The last form being covered is the ternary from. It is a three-part form that has a repletion of the first verse, with different lyrics, which then processes to the chorus and returns back to the theme of the first verse. The form is very diverse in music and can evoke different emotions. So one can see how important it is to grunge music because of its ability to highlight the different parts of the song through repetition, contrast, and continuity. <br />
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Grunge music is primarily about emotions and social issues that plagued many of the youth during that time, so it is very important to have the music bring attention to these issues through the phrasing of the chorus and verses. Songs In the 1990’s many rock songs followed a verse-chorus form, which Brad Osborn likes to call the “verse-chorus paradigm” (Osborn, 2013, p. 23). <ref> Osborn, B. (2013). Subverting the Verse–Chorus Paradigm: Terminally Climactic Forms in Recent Rock Music. Music Theory Spectrum, 35(1), 23-47. doi:10.1525/mts.2013.35.1.23 </ref> or in less layman terms a verse-chorus pattern. Osborn then quotes John Covach who says “In a verse-chorus [form]...the focus of the song is squarely on the chorus...[T]he verses serve primarily to prepare the return of the chorus’’ (Osborn, 2013, p. 23) and this makes the song sound like it’s using the chorus as the main bringer of emotion to the song. Many grunge songs, due to the fact that they are part of the rock genre, did use this form. It allowed many of the emotions of the first verse to be realized and then an overall feeling of dissatisfaction to be released about these feelings. This can especially be seen in “Heart-Shaped Box” by Nirvana, which starts with verse 1 <div style="text-align: center;"> She eyes me like a Pisces when I am weak <br><br />
I've been locked inside your heart-shaped box for weeks <br><br />
I've been drawn into your magnetar pit trap trap <br><br />
I wish I could eat your cancer when you turn black<ref> https://play.google.com/music/preview/Ttdyvwmcelupwuxwf6fsabw2qwq?lyrics=1&utm_source=google&utm_medium=search&utm_campaign=lyrics&pcampaignid=kp-lyrics </ref> </div><br>. The music plays on the use of the verse-chorus form to highlight the emotions of feeling trapped and helpless, which are then built on during the chorus <div style="text-align: center;"> Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice <br><br />
Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice<br><br />
Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice, your advice<ref> https://play.google.com/music/preview/Ttdyvwmcelupwuxwf6fsabw2qwq?lyrics=1&utm_source=google&utm_medium=search&utm_campaign=lyrics&pcampaignid=kp-lyrics </ref> </div><br>. The chorus is emphasizing the trapped feeling the singer is feeling, which he compares to debt. He feels that he is ever in debt and trapped. The next verse, which is musically a mirror of the first verse, but the lyrics speak of the great helpless he feels. This form allows great emphasis on the chorus and it also climaxes at the end when the last chorus is repeated. However, not every grunge song contained this form. In Glycerine by Bush, the song has a much different form, but still allows the emotions of sorrow and regret be portrayed to the audience. <br />
It’s all about the emotions being reached. They did not need to use this form to release and tell all of the audience their problems. It can be reached just as well with other songs <br />
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=Section 2: Elements of Writing a Grunge Song=<br />
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== A Satirical Way of Writing a Grunge Song==<br />
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So now that we have a solid understanding of what harmony, rhythm, dynamics, and form are and how they are used in grunge music, we are now ready to write a song that emphasizes the true elements of grunge music. Here we are going to go step by step and identify how to create one of these grunge songs. We will be looking back at both our background and analysis of grunge songs to help us determine the best way to make a number one seller like “Smells Like Teen Spirit” by Nirvana. If one is not familiar with a lot of grunge music, I would suggest looking at my page [[Grunge in London|Grunge in London]]. That page will give you more background and information about the grunge era and includes some of its iconic songs from artists both from America and London. The purpose of this is to create a light-hearted and funny guide that highlights the both the technical aspects of grunge music and its unique sound that was learned in the background. While also pointing out repetitive nature of the themes, its inaudible lyrics, and their creepy videos. This is all made in good fun and is not meant to diminish any of the personal problems that these singers faced. They had very serious problems that some were not able to overcome and many did use music as an outlet to express their emotions. But for our purposes, we are focusing more on the teen angst portion, which contains more insignificant problems like Wi-Fi buffering or not having the latest video game, which is trying to fit in with this current generation of teenagers in a world of technology. From this, we will produce steps to creating a chart-topping, show-stopping, musical genius of a grunge song that has the consideration of the elements of music we analyzed. <br />
<br><br />
<br><br />
==Drawing Inspiration ==<br />
Grunge music was very much known for its aesthetic and its ability to connect with the youth of generation x or those born in the 1990’s. It covered many “distasteful” topics such as depression, suicide, and alienation, which many grunge artists experienced and fought a daily battle to overcome. Today, many still listen to grunge music and find it comforting to know that there were others out there going through the same struggles of feeling forgotten, rejected and lost. But for those who feel that grunge music does not fit in with their technology filled life, they may want to create a grunge song that covers a topic they feel creates negative feelings for them. So to get into the proper mindset to write this song, one must dig deep into the recesses of his or her feelings of teen angst to dig out some sort of darker emotions. May I suggest a YouTube video of a pug who can’t roll over, not having enough phone data, or trying to watch the finale of your favorite show but the Wi-Fi keeps buffering the video? Think of something that is basically insignificant to the rest of the world and only really matters to you. A bad selfie would qualify as a good one also but may need to be prefaced that it was posted to social media and your crush may see it. Horrifying I know! Once you have found the feelings you would like to express in your song, start thinking of how you would like to portray those emotions and what you would like the overall sound to be. These feelings will be the base of your song and all of your further decisions will be based on the mood created by these emotions. I have personally dug out from the recesses of my long-buried teen nerdy angst the feeling of anxiety and sorrow when my code wouldn’t compile. <br><br />
<br><br />
== Emotion and Harmony ==<br />
Your next step is choosing how you would like to portray that to your listeners. I would do this by making it sound like the world will end if the code doesn’t work and that all will be lost. Don’t be afraid to be over dramatic. That’s what attracts people to the music is the drama and emotion. Right? Now that that has been cleared up, the actual song can now be written. One must start with the most crucial part first, the harmony. When done right, the harmony helps to create the emotion of the music. In grunge, musicians experimented with a variety of different techniques and ideas. They wanted to step out of the norm of alternative music. So, they experimented the chords of the music and found that when they distort the note a great deal it produces a much richer sound that reaches higher. Therefore, much of grunge music is written in 3 note chords which stem from a key signature. So, the first part of creating your harmony is deciding what key you would like your song, which you could do by picking you favorite note. I will be arbitrarily picking the key of F major. If you have a favorite key pick that one; it will make it more personal to you. Next, for choosing your chord progressions pick whatever sounds good together. Also, make sure to have at least one modulation of a note in there. It is a grunge classic and a must if you want your song to be grunge. This will create the dissonance you are looking for and will add to any emotion ranging from hatred to anxiety. Wow look at that, after playing with chords for a few hours, you will be able to get some chord progressions that you like. At this stage, you will also have to decide what instruments you would like to use. You honestly can’t go wrong with the grunge classic of guitar, bass guitar and drum set. If you are feeling fancy you could add another instrument to complement your theme and mood.<br><br />
<br><br />
== Final Steps ==<br />
After your harmony is all figured out, which will probably take a while, you will need to figure out your rhythm. The rhythm as stated before is really based on the emotion of the song so you’re going to need to play around with the speeds until you feel it has reached the right mood to represent the emotions you are trying to portray. Many grunge pieces have a range from 90-120 (bpm), but feel free to choose one that best suits the song. Dynamics is another important part of the piece do to that fact it determines what sections are loud and what sections are softer. Many times gunge utilized dynamics to create a call and response type of sound in the song. It also had the power to create tension in a song so it may work for your song if that is what you are striving for. One may also put accents on different parts of the song where you want to highlight a lyrics. The last thing you’ll need is the form of the song or how it the song is constructed both lyrically and musically. It is all about the repetition of the song of the chorus and its verses. The classic rock and grunge form of the 1990s was the verse-chorus form that focused its attention to the chorus. This is a really nice form for if you are highlighting your chorus. Though all grunge songs did not use this form, they also achieved their aesthetic by used other forms. So feel free to look into other forms that may make your song more grunge. The last requirement to writing a grunge song is lyrics! All grunge songs contained lyrics that expressed their emotions, so make your lyrics emotional and full of angst. As a bonus, have your singer sing very muffled and with almost unintelligible manner. It seemed really popular with bands such as Nirvana and Radiohead. You can't really hear the lyrics but you still felt a deep emotional connection to them. Any of these steps can be done in any order, so maybe start with the harmony or lyrics and form. It's really up to you. Much of the genre was experimentation held together by angst and great chords. And there you have it! You have created the next “Smells Like Teen Spirit”. Now go out and share your amazing song with the world, brace the world for its awesomeness! <br />
<br><br />
<br><br />
= Musical analysis of songs =<br />
<br><br />
Taking what has been learned about harmony, rhythm, dynamics, and form and its importance to grunge music now lets look at some songs created in the "grunge" music style. Keep in mind that you're just taking a small slice of examples and that this table isn't all-encompassing. Also note that some of the harmony listed is a general overview of the keys/tonalities explored. Find out more about grunge music and its history [[Grunge in London|here]]. <br />
<br><br><br />
{| class="wikitable" width="80%"<br />
|-<br />
! scope="row"| Grunge Music of the Late 1980's - Mid 1990's<br />
|-<br />
! Musical Elements <br />
! Heart Shaped Box <br />
! Black Hole Sun <br />
! Creep<br />
! Glycerine <br />
! Man in the Box<br />
|-<br />
! scope="row"| Artist <br />
| align="center"| Nirvana <br />
| align="center"| Soundgarden <br />
| align="center"| Radiohead<br />
| align="center"| Bush <br />
| align="center"| Alice in Chains <br />
|-<br />
! scope="row"| Rhythm<br />
| align="center"| <br />
* Time Signature: 4/4<br />
*Tempo: Moderately (108 - 120 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: 120 bpm<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: (90-93 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: Moderately (112-116 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: Moderately (107-109 bpm)<br />
|-<br />
! scope="row"| Harmony<br />
| align="center"| <br />
* Key: A minor<br />
*Major Chords: A5, F5, D5/ A, F5, D7<br />
*Chord Progressions: A5, F5, D5, A, D7<br />
| align="center"|<br />
* Key: F major<br />
*Major Chords: Gsus, G6, Bb6, F5, Em<br />
| align="center"|<br />
* Key: G major<br />
*Major Chords: G, B, C, Cm<br />
*Chord Progressions: G, B, C, Cm<br />
| align="center"|<br />
* Key: F major<br />
*Major Chords: F, C5, D5, Bb5<br />
*Chord Progressions: F, C5, D5, Bb5<br />
| align="center"|<br />
* Key: E minor <br />
* Major Chords: Em, E5, G, D, A<br />
*Chord Progressions: G5 G6 G5 G6 C E5<br />
|-<br />
! scope="row"| Dynamics <br />
| align="center"| <br />
*quiet verse and roaring chorus <br />
| align="center"|<br />
*quiet verse and roaring chorus <br />
| align="center"|<br />
*quiet verse and roaring chorus <br />
*crescendo to chorus <br />
*decrescendo to verse <br />
| align="center"|<br />
*quiet crescendo loud moderate level<br />
| align="center"|<br />
*moderate <br />
|-<br />
! scope="row"| Form <br />
| align="center"| <br />
*verse/chorus song form <br />
| align="center"|<br />
*verse/chorus song form <br />
| align="center"|<br />
*verse/chorus song form<br />
| align="center"|<br />
* verse/chorus/ bridge form <br />
| align="center"|<br />
*ABABB Form <br />
|- <br />
|}<br />
<br><br><br />
<br />
=Conclusion=<br />
<br><br />
In this project, I did an analysis of music theory from the point of view of grunge music. Music, in general, is so incredibly versatile with its ability to change one element to change the whole song and its intentions. All of the elements of music are important to delivering the music’s message. So I decided to look at grunge music though four of the elements of music to give an in-depth analysis on how these elements create the grunge sound. I also looked for ways the elements of music tied the whole genre together and gave it its particular sound. Grunge music was a unique genre that popped up as a sub-genera of alternative music, so I wanted to see what made it stand out from the rest. I determined that the genre itself was notable for its emotional connection to the music. The artists took advantage of rhythm, form, dynamics, and harmony to fit their feelings of depression, angst, and anger. Most notable they changed the way chords were heard by distorting the music’s sounds. It created a fuller sound and changed the chord progressions. They were very experimental and passionate about their music and led me to a “pattern” in their music, which was that it had to be full of emotion and it had to have distortion of chords that allowed them to modulate certain notes. I was then able to play off of this pattern to create a satirized guide to creating grunge music. In the future, I would like to see more research done on patterns in grunge music because this music created a generation and still inspires many today. <br />
<br><br><br />
<br />
=External Links=<br />
[[Grunge in London| Grunge in London]]<br />
<br><br><br />
<br />
=References=<br />
<br />
[[Category:Music Projects]]<br />
[[Category:2017]]<br />
<br><br></div>Kfconroyhttps://londonhuawiki.wpi.edu/index.php?title=Music_Theory_behind_Grunge_Music&diff=19032Music Theory behind Grunge Music2017-06-22T11:45:23Z<p>Kfconroy: </p>
<hr />
<div><br />
by [[User:Kfconroy|Katharine Conory]]<br><br />
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|label2 = Music Theory behind Grunge music <br />
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{{Infobox<br />
|title = Music Theory behind Grunge Music <br />
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|caption = Music<br />
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<br />
__TOC__<br />
<br />
<br />
=Abstract=<br />
The objective of this milestone is to take all that I have learned from my [[Grunge in London|Grunge in London]] Capstone to analyze the music through the lens of music theory. I was able to see what grunge music has to offer by way of harmony, rhythm, dynamics, and form, which are some of the elements of all music. For my deliverable, I took all that I learned from this analysis of grunge music from a music theory background to create my own guide to what a grunge song would contain in the way of harmony, rhythm, dynamics and form with examples of what I would do. <br> <br><br />
For this project, I drew back on my past experience with music theory and my violin background. This is slightly challenging due to the fact that harmony for a violin is much simpler for a violin than a guitar. In high school, I took several music classes and was in both chorus and band. I hope to gain more knowledge about music theory and help others understand music as well. <br />
<br><br><br />
<br />
=Introduction=<br />
This project is meant to introduce those who enjoy music to the music theory or backbone of music that makes it sounds a certain way or gives it a certain emotion. Music is defined by its elements, which allows a certain genre of music sounds different than another. So, I distinguished four important elements of music and did an in-depth analysis of each with a comparison of grunge to popular rock music of that time. From that analysis, I then produced a guide to producing gunge songs from a satirical background with examples of what I would do. <br> <br><br />
In my research, I found that grunge was more covered as a social and ethical topic with little being covered about the music itself. It was difficult to find much on the elements of music in respect to the grunge genre itself, but I did find some info on it under the umbrella of alternative. I discovered that its sound and style was primarily based off of the music’s harmony with the rhythm, form, and dynamics still very important to its overall sound. But, there was no real pattern to the music. Together in had a unique sound due to the harmonic practices, but what really kept the genre a genre was the music’s attitude and the taboo topics it tried to address. Each artist has its own unique style and sound but they all fell into the same genre. This project needs more research to fully grasp the musical differences between grunge music and the popular rock of the time. <br />
<br><br><br />
<br />
=Section 1: Background=<br />
Grunge was a style choice, a cultural movement and most importantly a music style that appeared in the late 1980’s to the early 1990’s, which songs had focused on topics of a taboo nature such as alienation, depression, and suicide. The movement focused on using their music to enlighten those around them about the problems that they were suffering from, which resonated very well with the youth who were also facing many of those issues. It was very popular and topped many of the more well-known artists. It had a new an appealing sound that differed from the rock and pop music of day. Grunge music is considered to be a sub-genre of rock with heavy overlap with other rock subgenres such as alternative, metal, and punk <ref> STRONG, C. (2016). GRUNGE: music and memory. S.l.: ROUTLEDGE. </ref>.The music contained a dirty and raw sound guitar sound, which gave the genre its name. This music has a significant effect on the culture of the Seattle area where is was started, which is no surprise due to the fact that music has always been a major component of cultural changes in society. There have been many scholarly articles citing its importance and during this time there was a major shift in attitudes towards the world and the people who lived in it, which emphasized the feelings correlated to alienation, depression, and suicide. However one may ask how music, subtracting the lyrics, could evoke such feelings, which in fact brings me to the focus of this capstone; the music theory behind grunge music that gave it its unique sound. <br><br> <br />
The music theory behind grunge music will explain how this music became so unique, but this calls into question of the definition music. In the most literal idea, one can see music as “vibrations in the air that are observed by us and then interpreted as sounds. These sounds play out over time, meaning that music is, therefore, sound over time” <ref> Samama, L., & Clements, D. (2016). What is music? In The Meaning of Music (pp. 27-31). Amsterdam University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/j.ctt1b9x1ts.5</ref>. However, that is way too literal and would infer that all sounds are music like all paintings are works of art. Music is way more sophisticated and can be seen as “multi-dimensional (and a) multimedia phenomenon’’ <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017.</ref>. Therefore music is grouped into seven different elements, which are rhythm, dynamics, melody, harmony, tone color, texture, and form to help identify the key differences between grunge music and say rap. These elements added to the sound and identity of the genre, so much so it stood out from the rest of the alternative genre, which grunge was a subgenre of, during that era. Below I have chosen 4 elements I feel distinguished the grunge genre of from that which was popular during the 1990’s and created the special sound to the music that allowed the artists to express their emotions. <br><br> <br />
<br />
==Musical Elements ==<br />
===Harmony === <br />
<br><br />
Harmony is very important to the creation of music, due to the fact it the way notes are played in relation to each other. This is a very technical and complex element of music that can be fairly hard to understand, so it is important to start at the beginning. There are seven notes in all of the music, not including all of the flats and sharps, A, B, C, D, E, F, G and these are the building blocks on which songs can then be built. The full list of notes which contain all the flats (b) and sharps (#) starting at A is '''A''', A#/Bb, '''B''', C, '''C#/Db''', '''D''', D#/Eb, '''E''', F, '''F#/Gb''', G, '''G#/Ab''', '''A''' and follows a pattern of 2212221, which gives a scale of A major. The pattern is followed by the bolded letters produces A, B, C#, D, E, F#, G#, and A as the A Major Scale. From the scale, one can then produce all of the chords that can be made from that key. A chord is several notes played together to that are separated by thirds, which produce notes that complement each other very well. The chords for an A major key would contain AC#E I (major), BDF# ii (minor), C#EG# iii (minor), DF#A IV (major), EG#B V (major), F#AC# vi (minor), G#BD vii0 (diminished). To form these 3 note chords, one takes the scale and starts at the first note in the scale, which in our case is A. Then, skip the next note, B, and chose C# to do this again for the third and last note of the chord. Your final chord will be AC#E, which is a major chord and they you do it for B, C#, etc. for the rest of the chords until you come back to your original note A. The chords are in a pattern of major, minor, minor, major, major, minor, and diminished, which are shown by the capitalized Roman numerals rather than the lower case ones and the 0 at the end means diminished. Another name this goes by is diatonic harmony and all this is the way notes relate with each other in a certain key. All of this can be replicated for all of the other keys in music to get chords. These chords then can be played in succession after one another and produce a chord progression. Some commonly used chord progressions in the key of A are ADE (I – IV- V) and BEA (ii-V-I). These chords and chord progression are what creates the harmony in the song and they are often used in term of how harsh they sound. The harshness of chords is quantified into dissonance and consonance. Dissonance is a very harsh sounding harmony and its chords known for creating tension in a piece. Consonance is a smooth sounding harmony that creates consonant chords, which resolves tension created by the dissonant chords. Chords are very important to music because it truly creates the mood of the music. More dissonant sounding music sounds almost unstable, eerie and sad. A really good example is Mozart’s Quartetto K. 465 "delle dissonanze". One can hear the very dissonant beginning and then throughout the rest of the piece, one can hear how dissonance is resolved by consonance (The Elements Of Music, 2017, p. 3). <htmltag tagname="iframe" id= width="200" height="150" src="https://www.youtube.com/embed/08uY0-ehL-w" frameborder="0" allowfullscreen></htmltag> <br />
<br><br />
In grunge music, harmony played a large part in creating its aesthetic and sound. This music was very powerful and was known to use “power chords” (McDonald, 2000, p.355) as a “set of harmonic practices that rock musicians, particularly those who participate in the domain of guitar-oriented 'alternative' rock, have been using” (McDonald, 2000, p.355) <ref> McDonald, C. (2000). Exploring modal subversions in alternative music. Popular Music, 19(3), 355-363. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/853641 </ref>. These musicians were trying to break the mold of rock and alternative music so they tried new practices such as distorting the guitar’s sounds and choosing unique chord combinations. An example of this was the change of the power chords, which are normally fifths or fourths (McDonald, 2000, p.356). However, do to the heavy guitar distortion, created by overloading the signal into the amplifier, it created a more complex sound that allowed more sound to come from the notes played. This distortion allowed chords done in thirds to have a richer and fuller sounds and as a byproduct created a very dissonant sound (Biamonte, 2010, p. 97). Another in interesting part to grunge’s harmony was its use of “third or cross relations” (McDonald, 2000, p.357) that allows songs that were written in the key of A major and as we determined before C# would be the C note used, however in grunge music the C would incongruently change a minor third to C5 or Cb. This is what author Chris McDonald calls “modal subversion” (McDonald, 2000, p.357). It used constantly in these songs and an example of it would be in “Smells like Teen Spirit” by Nirvana. In this song the key is in F minor and in that scale A is natural but in “Smells like Teen Spirit” the A modulates to Ab (Osborn, 2013, 31) <ref> Osborn, B. (2013). Subverting the Verse–Chorus paradigm; terminally climactic forms in recent rock music. Music Theory Spectrum, 35(1), 23-47. doi:10.1525/mts.2013.35.1.23 <br />
</ref>. This a common theme in many grunge songs and gives its unique sounds, aesthetic, and emotion. <br />
<br><br><br />
<br />
=== Rhythm ===<br />
<br><br />
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In music, the rhythm of a song is the time in which a song is played. This can be seen when a person is tapping one’s foot to the beat. The rhythm of the song is very important in creating the emotions of the song due to the fact that it determines how fast the piece is going to be. Encompassed in rhythm are sub-topics of duration, tempo, and meter, which helps the listener and musician to follow the structure of the piece. Rhythm tends to be more the technical part of the song but it carries much importance because without it the song would be a mess of lyrics and instruments without direction. So the duration is the length of time between each note and silence. It is used to bring attention to a certain section of the song because a very long note or silence is jarring to the listener. A silence can bring emphasis to the next note and add a complexity to the tempo of the song. The meter of the song is the repetition of accents and stresses that are arranged into the recognizable beat of the song. In a song, the accented notes tend to be the first note of the measure, however, to create more drama many artists utilize syncopation or the putting of accents on off-beats. The meter is emphasized by the song’s tempo or speed at which the beat is played. It is often known as beats per minute (bpm). The tempo of the song determines the level of excitement and mood of the song. It has been said by Gow that “the time-pattern upon his attention must be the excuse for the common conception of rhythm as the emotional element in music” (Gow, 1915, p. 637) or in layman terms. The pattern of sound, silence, and speed adds significantly to the emotions and feeling drawn from the piece so it is imperative that the artist uses the correct rhythm and tempo for the desired effect. An example of this would be how slow blues music tends to be around the 60 bpm and rock and roll music tends to be about 175 bpm. (Gow, 1915, p. 637- 642)<ref> Gow, G. (1915). Rhythm: The Life of Music. The Musical Quarterly, 1(4), 637-652. Retrieved from http://www.jstor.org/stable/738071 </ref> <br />
<br> <br> <br />
Grunge music is all about the aesthetic of the music and many times it is difficult to derive the meaning of the lyrics due to the vocal quality or symbolic meaning of the lyrics. So it’s imperative to set the right tone via the rhythm because without that the song could be changed from a very dark and emotional piece to one that sounds happy and light. Therefore, the duration of the notes and silences have to create drama and angst. The meter must accentuate the right beat and word of the lyrics to make them pop. One consistency round most grunge music is its timed meter, which was 4/4 time or four beats per measure. The emphasis on notes tended to be inconsistent though because it was really dependent on the lyrics. Some songs did use accents of off-beats to draw more attention to one part or another. Meter also creates the structure to the song. Without that the song has very similar and boring notes with no structure. The tempo has to give the song the right attitude. So in grunge music artists wanted a tempo to reflect sadness and depression that they often felt, but they but they wanted to be interesting and attention grabbing. So many artist chooses tempos from around 90-120 (bpm) there was no exact range to the tempos. It was really up to the musician’s ear. However, one can tell that the artist chose the right tempo, if the emotions were portrayed foremost in the music. A good example would be to speed up or slow down a grunge song.<br />
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When that is done, ignoring the higher pitch of Cobain's voice, it is obvious that one will not get the same emphasis on themes of the music leaving the song useless to the artist. The grunge artist needed the aesthetic of angst and pain to drip from the lyrics to get his point across. <br />
<br> <br><br />
<br />
=== Dynamics ===<br />
<br><br />
The dynamics of a song is the loudness and or softness at which the song is played at. A song can be played very loudly, fortissimo, or very softly, pianissimo, and it would create a different interpretation of the song. Some genres of music tend to produce quieter music while others like to blast their audience with their music. An artist can also have a range of volumes with many choosing sections of their song to be quieter to emphasize the words or the music’s complexity and others sections being softer to portray emotions. Sometimes the artist wants to create a buildup of tension in the song so he or she will use a crescendo, getting louder, or a decrescendo, getting softer to achieve it. Another part of dynamics, which was touched on in rhythm, is accenting a note or “leaning into a note” <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017. </ref> and it creates a unique sound. It is important to use dynamics because it keeps the music interesting. A lovely example that many people have probably heard before would be in Richard Strauss's Also Sprach Zarathustra, Op. 30. <br><br />
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It starts our pianissimo and then crescendos to fortissimo until it is absolutely blaring. These dynamics are meant to grab the attention of the audience and awaken anyone who has fallen asleep during the very quiet part. Dynamics are an important part of the music creation process due to the fact that a combination of these dynamics creates the genre's signature style. Hardcore rock is known to bombard their audience with sound while other genres such as country tend to have a moderate volume. <br />
<br><br><br />
Dynamics is another really important element in grunge music because it can be used as an emphasis on particular parts of the song. The song could go from a verse of quiet reflection to a chorus of raging anger. This element is interlinked with all of the other elements to create the song the way that artist meant to portray it. Many of the grunge artists use dynamics to emphasize the themes of the song. So while many songs of the grunge genre do tend to vacillate between very loud and quiet, not every song does. It all depends on the themes and emotions of the songs. An example of the differences would be comparing the dynamics of Black Hole Sun by Soundgarden and Glycerine by Bush. They are both classified under the genre of grunge music, but they have totally different dynamics. In Black Hole Sun, the first verse starts out pretty quiet to emphasize the almost euphoric nature of words and the invisibility the singer feels. Then in the chorus, there is a large increase in volume which tries to capture the anger and pain of his invisibility. However, in Glycerine, the verse starts out pretty quiet and has a mournful tone and it crescendos ever so slightly into the chorus which is still mournful plus a bit remorseful also. The dynamics are used in grunge as an emphasis on certain feelings and emotions and though some do have a pattern of a quietverse and loud chorus some use other dynamics to get their point across. <br />
<br><br><br />
=== Form ===<br />
<br><br />
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In music, the element of form is a combination of the repetition, contrast, and continuity that creates a song’s uniqueness. The form is very dependent on the other elements of music because it is the way the music is arranged. There is a mixture of musical ideas that are carefully arranged to create the meaning behind the music, which is illustrated when the chorus, speaking both lyrically and instrumentally, is repeated. To differentiate the diversions in music, letters such as A, B, C, are used. This is used determine the slight variation in musical patterns. Repetition is often utilized in form to set the theme of the song. This is seen when the chorus is repeated or the verse lyrics change and music stays the same. Repetition in music is known to create continuity and is usually done with a catchy chorus. Contrarily when there is a change or contrast in music, it is often used to note a shift in mood. The form includes a myriad of types including strophic, binary, verse/chorus song, and ternary forms. These types of forms are derived from the repetition, contrast, and continuity referred to previously. The strophic form is when the same music is repeated over and over for several verses of music. This is the most basic form, which lacks contrast and is all repetition. The message the song is trying to portray is usually very elementary. In the binary form, there are two parts. It uses contrast to highlight the question answer music phrasing between the similar phrasing contrasting section. A combination between the binary and strophic forms is the Verse/ Chorus Song form. It alternates between the storytelling verses, which contain different lyrics each verse, and the recurring chorus. <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017</ref>. It creates the feeling of familiarity and allows for many ideas and feelings to be told and then reiterated in the chorus, which is very important in grunge music. The last form being covered is the ternary from. It is a three-part form that has a repletion of the first verse, with different lyrics, which then processes to the chorus and returns back to the theme of the first verse. The form is very diverse in music and can evoke different emotions. So one can see how important it is to grunge music because of its ability to highlight the different parts of the song through repetition, contrast, and continuity. <br />
<br><br><br />
Grunge music is primarily about emotions and social issues that plagued many of the youth during that time, so it is very important to have the music bring attention to these issues through the phrasing of the chorus and verses. Songs In the 1990’s many rock songs followed a verse-chorus form, which Brad Osborn likes to call the “verse-chorus paradigm” (Osborn, 2013, p. 23). <ref> Osborn, B. (2013). Subverting the Verse–Chorus Paradigm: Terminally Climactic Forms in Recent Rock Music. Music Theory Spectrum, 35(1), 23-47. doi:10.1525/mts.2013.35.1.23 </ref> or in less layman terms a verse-chorus pattern. Osborn then quotes John Covach who says “In a verse-chorus [form]...the focus of the song is squarely on the chorus...[T]he verses serve primarily to prepare the return of the chorus’’ (Osborn, 2013, p. 23) and this makes the song sound like it’s using the chorus as the main bringer of emotion to the song. Many grunge songs, due to the fact that they are part of the rock genre, did use this form. It allowed many of the emotions of the first verse to be realized and then an overall feeling of dissatisfaction to be released about these feelings. This can especially be seen in “Heart-Shaped Box” by Nirvana, which starts with verse 1 <div style="text-align: center;"> She eyes me like a Pisces when I am weak <br><br />
I've been locked inside your heart-shaped box for weeks <br><br />
I've been drawn into your magnetar pit trap trap <br><br />
I wish I could eat your cancer when you turn black<ref> https://play.google.com/music/preview/Ttdyvwmcelupwuxwf6fsabw2qwq?lyrics=1&utm_source=google&utm_medium=search&utm_campaign=lyrics&pcampaignid=kp-lyrics </ref> </div><br>. The music plays on the use of the verse-chorus form to highlight the emotions of feeling trapped and helpless, which are then built on during the chorus <div style="text-align: center;"> Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice <br><br />
Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice<br><br />
Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice, your advice<ref> https://play.google.com/music/preview/Ttdyvwmcelupwuxwf6fsabw2qwq?lyrics=1&utm_source=google&utm_medium=search&utm_campaign=lyrics&pcampaignid=kp-lyrics </ref> </div><br>. The chorus is emphasizing the trapped feeling the singer is feeling, which he compares to debt. He feels that he is ever in debt and trapped. The next verse, which is musically a mirror of the first verse, but the lyrics speak of the great helpless he feels. This form allows great emphasis on the chorus and it also climaxes at the end when the last chorus is repeated. However, not every grunge song contained this form. In Glycerine by Bush, the song has a much different form, but still allows the emotions of sorrow and regret be portrayed to the audience. <br />
It’s all about the emotions being reached. They did not need to use this form to release and tell all of the audience their problems. It can be reached just as well with other songs <br />
<br><br><br />
<br />
=Section 2: Elements of Writing a Grunge Song=<br />
<br><br />
== A Satirical Way of Writing a Grunge Song==<br />
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So now that we have a solid understanding of what harmony, rhythm, dynamics, and form are and how they are used in grunge music, we are now ready to write a song that emphasizes the true elements of grunge music. Here we are going to go step by step and identify how to create one of these grunge songs. We will be looking back at both our background and analysis of grunge songs to help us determine the best way to make a number one seller like “Smells Like Teen Spirit” by Nirvana. If one is not familiar with a lot of grunge music, I would suggest looking at my page [[Grunge in London|Grunge in London]]. That page will give you more background and information about the grunge era and includes some of its iconic songs from artists both from America and London. The purpose of this is to create a light-hearted and funny guide that highlights the both the technical aspects of grunge music and its unique sound that was learned in the background. While also pointing out repetitive nature of the themes, its inaudible lyrics, and their creepy videos. This is all made in good fun and is not meant to diminish any of the personal problems that these singers faced. They had very serious problems that some were not able to overcome and many did use music as an outlet to express their emotions. But for our purposes, we are focusing more on the teen angst portion, which contains more insignificant problems like Wi-Fi buffering or not having the latest video game, which is trying to fit in with this current generation of teenagers in a world of technology. From this, we will produce steps to creating a chart-topping, show-stopping, musical genius of a grunge song that has the consideration of the elements of music we analyzed. <br />
<br><br />
<br><br />
==Drawing Inspiration ==<br />
Grunge music was very much known for its aesthetic and its ability to connect with the youth of generation x or those born in the 1990’s. It covered many “distasteful” topics such as depression, suicide, and alienation, which many grunge artists experienced and fought a daily battle to overcome. Today, many still listen to grunge music and find it comforting to know that there were others out there going through the same struggles of feeling forgotten, rejected and lost. But for those who feel that grunge music does not fit in with their technology filled life, they may want to create a grunge song that covers a topic they feel creates negative feelings for them. So to get into the proper mindset to write this song, one must dig deep into the recesses of his or her feelings of teen angst to dig out some sort of darker emotions. May I suggest a YouTube video of a pug who can’t roll over, not having enough phone data, or trying to watch the finale of your favorite show but the Wi-Fi keeps buffering the video? Think of something that is basically insignificant to the rest of the world and only really matters to you. A bad selfie would qualify as a good one also but may need to be prefaced that it was posted to social media and your crush may see it. Horrifying I know! Once you have found the feelings you would like to express in your song, start thinking of how you would like to portray those emotions and what you would like the overall sound to be. These feelings will be the base of your song and all of your further decisions will be based on the mood created by these emotions. I have personally dug out from the recesses of my long-buried teen nerdy angst the feeling of anxiety and sorrow when my code wouldn’t compile. <br><br />
<br><br />
== Emotion and Harmony ==<br />
Your next step is choosing how you would like to portray that to your listeners. I would do this by making it sound like the world will end if the code doesn’t work and that all will be lost. Don’t be afraid to be over dramatic. That’s what attracts people to the music is the drama and emotion. Right? Now that that has been cleared up, the actual song can now be written. One must start with the most crucial part first, the harmony. When done right, the harmony helps to create the emotion of the music. In grunge, musicians experimented with a variety of different techniques and ideas. They wanted to step out of the norm of alternative music. So, they experimented the chords of the music and found that when they distort the note a great deal it produces a much richer sound that reaches higher. Therefore, much of grunge music is written in 3 note chords which stem from a key signature. So, the first part of creating your harmony is deciding what key you would like your song, which you could do by picking you favorite note. I will be arbitrarily picking the key of F major. If you have a favorite key pick that one; it will make it more personal to you. Next, for choosing your chord progressions pick whatever sounds good together. Also, make sure to have at least one modulation of a note in there. It is a grunge classic and a must if you want your song to be grunge. This will create the dissonance you are looking for and will add to any emotion ranging from hatred to anxiety. Wow look at that, after playing with chords for a few hours, you will be able to get some chord progressions that you like. At this stage, you will also have to decide what instruments you would like to use. You honestly can’t go wrong with the grunge classic of guitar, bass guitar and drum set. If you are feeling fancy you could add another instrument to complement your theme and mood.<br><br />
<br><br />
== Final Steps ==<br />
After your harmony is all figured out, which will probably take a while, you will need to figure out your rhythm. The rhythm as stated before is really based on the emotion of the song so you’re going to need to play around with the speeds until you feel it has reached the right mood to represent the emotions you are trying to portray. Many grunge pieces have a range from 90-120 (bpm), but feel free to choose one that best suits the song. Dynamics is another important part of the piece do to that fact it determines what sections are loud and what sections are softer. Many times gunge utilized dynamics to create a call and response type of sound in the song. It also had the power to create tension in a song so it may work for your song if that is what you are striving for. One may also put accents on different parts of the song where you want to highlight a lyrics. The last thing you’ll need is the form of the song or how it the song is constructed both lyrically and musically. It is all about the repetition of the song of the chorus and its verses. The classic rock and grunge form of the 1990s was the verse-chorus form that focused its attention to the chorus. This is a really nice form for if you are highlighting your chorus. Though all grunge songs did not use this form, they also achieved their aesthetic by used other forms. So feel free to look into other forms that may make your song more grunge. The last requirement to writing a grunge song is lyrics! All grunge songs contained lyrics that expressed their emotions, so make your lyrics emotional and full of angst. As a bonus, have your singer sing very muffled and with almost unintelligible manner. It seemed really popular with bands such as Nirvana and Radiohead. You can't really hear the lyrics but you still felt a deep emotional connection to them. Any of these steps can be done in any order, so maybe start with the harmony or lyrics and form. It's really up to you. Much of the genre was experimentation held together by angst and great chords. And there you have it! You have created the next “Smells Like Teen Spirit”. Now go out and share your amazing song with the world, brace the world for its awesomeness! <br />
<br><br />
<br><br />
= Musical analysis of songs =<br />
<br><br />
Taking what has been learned about harmony, rhythm, dynamics, and form and its importance to grunge music now lets look at some songs created in the "grunge" music style. Keep in mind that you're just taking a small slice of examples and that this table isn't all-encompassing. Also note that some of the harmony listed is a general overview of the keys/tonalities explored. Find out more about grunge music and its history [[Grunge in London|here]]. <br />
<br><br><br />
{| class="wikitable" width="80%"<br />
|-<br />
! scope="row"| Grunge Music of the Late 1980's - Mid 1990's<br />
|-<br />
! Musical Elements <br />
! Heart Shaped Box <br />
! Black Hole Sun <br />
! Creep<br />
! Glycerine <br />
! Man in the Box<br />
|-<br />
! scope="row"| Artist <br />
| align="center"| Nirvana <br />
| align="center"| Soundgarden <br />
| align="center"| Radiohead<br />
| align="center"| Bush <br />
| align="center"| Alice in Chains <br />
|-<br />
! scope="row"| Rhythm<br />
| align="center"| <br />
* Time Signature: 4/4<br />
*Tempo: Moderately (108 - 120 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: 120 bpm<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: (90-93 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: Moderately (112-116 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: Moderately (107-109 bpm)<br />
|-<br />
! scope="row"| Harmony<br />
| align="center"| <br />
* Key: A minor<br />
*Major Chords: A5, F5, D5/ A, F5, D7<br />
*Chord Progressions: A5, F5, D5, A, D7<br />
| align="center"|<br />
* Key: F major<br />
*Major Chords: Gsus, G6, Bb6, F5, Em<br />
| align="center"|<br />
* Key: G major<br />
*Major Chords: G, B, C, Cm<br />
*Chord Progressions: G, B, C, Cm<br />
| align="center"|<br />
* Key: F major<br />
*Major Chords: F, C5, D5, Bb5<br />
*Chord Progressions: F, C5, D5, Bb5<br />
| align="center"|<br />
* Key: E minor <br />
* Major Chords: Em, E5, G, D, A<br />
*Chord Progressions: G5 G6 G5 G6 C E5<br />
|-<br />
! scope="row"| Dynamics <br />
| align="center"| <br />
*quiet verse and roaring chorus <br />
| align="center"|<br />
*quiet verse and roaring chorus <br />
| align="center"|<br />
*quiet verse and roaring chorus <br />
*crescendo to chorus <br />
*decrescendo to verse <br />
| align="center"|<br />
*quiet crescendo loud moderate level<br />
| align="center"|<br />
*moderate <br />
|-<br />
! scope="row"| Form <br />
| align="center"| <br />
*verse/chorus song form <br />
| align="center"|<br />
*verse/chorus song form <br />
| align="center"|<br />
*verse/chorus song form<br />
| align="center"|<br />
* verse/chorus/ bridge form <br />
| align="center"|<br />
*ABABB Form <br />
|- <br />
|}<br />
<br><br><br />
<br />
=Conclusion=<br />
<br><br />
In this project, I did an analysis of music theory from the point of view of grunge music. Music, in general, is so incredibly versatile with its ability to change one element to change the whole song and its intentions. All of the elements of music are important to delivering the music’s message. So I decided to look at grunge music though four of the elements of music to give an in-depth analysis on how these elements create the grunge sound. I also looked for ways the elements of music tied the whole genre together and gave it its particular sound. Grunge music was a unique genre that popped up as a sub-genera of alternative music, so I wanted to see what made it stand out from the rest. I determined that the genre itself was notable for its emotional connection to the music. The artists took advantage of rhythm, form, dynamics, and harmony to fit their feelings of depression, angst, and anger. Most notable they changed the way chords were heard by distorting the music’s sounds. It created a fuller sound and changed the chord progressions. They were very experimental and passionate about their music and led me to a “pattern” in their music, which was that it had to be full of emotion and it had to have distortion of chords that allowed them to modulate certain notes. I was then able to play off of this pattern to create a satirized guide to creating grunge music. In the future, I would like to see more research done on patterns in grunge music because this music created a generation and still inspires many today. <br />
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<br />
=External Links=<br />
[[Grunge in London| Grunge in London]]<br />
<br><br><br />
<br />
=References=<br />
<br />
[[Category:Music Projects]]<br />
[[Category:2017]]<br />
<br><br></div>Kfconroyhttps://londonhuawiki.wpi.edu/index.php?title=Music_Theory_behind_Grunge_Music&diff=19006Music Theory behind Grunge Music2017-06-22T11:16:46Z<p>Kfconroy: </p>
<hr />
<div><br />
by [[User:Kfconroy|Katharine Conory]]<br><br />
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<br />
=Abstract=<br />
The objective of this milestone is to take all that I have learned from my [[Grunge in London|Grunge in London]] Capstone to analyze the music through the lens of music theory. I was able to see what grunge music has to offer by way of harmony, rhythm, dynamics, and form, which are some of the elements of all music. For my deliverable, I took all that I learned from this analysis of grunge music from a music theory background to create my own guide to what a grunge song would contain in the way of harmony, rhythm, dynamics and form with examples of what I would do. <br> <br><br />
For this project, I drew back on my past experience with music theory and my violin background. This is slightly challenging due to the fact that harmony for a violin is much simpler for a violin than a guitar. In high school, I took several music classes and was in both chorus and band. I hope to gain more knowledge about music theory and help others understand music as well. <br />
<br><br><br />
<br />
=Introduction=<br />
This project is meant to introduce those who enjoy music to the music theory or backbone of music that makes it sounds a certain way or gives it a certain emotion. Music is defined by its elements, which allows a certain genre of music sounds different than another. So, I distinguished four important elements of music and did an in-depth analysis of each with a comparison of grunge to popular rock music of that time. From that analysis, I then produced a guide to producing gunge songs from a satirical background with examples of what I would do. <br> <br><br />
In my research, I found that grunge was more covered as a social and ethical topic with little being covered about the music itself. It was difficult to find much on the elements of music in respect to the grunge genre itself, but I did find some info on it under the umbrella of alternative. I discovered that its sound and style was primarily based off of the music’s harmony with the rhythm, form, and dynamics still very important to its overall sound. But, there was no real pattern to the music. Together in had a unique sound due to the harmonic practices, but what really kept the genre a genre was the music’s attitude and the taboo topics it tried to address. Each artist has its own unique style and sound but they all fell into the same genre. This project needs more research to fully grasp the musical differences between grunge music and the popular rock of the time. <br />
<br><br><br />
<br />
=Section 1: Background=<br />
Grunge was a style choice, a cultural movement and most importantly a music style that appeared in the late 1980’s to the early 1990’s, which songs had focused on topics of a taboo nature such as alienation, depression, and suicide. The movement focused on using their music to enlighten those around them about the problems that they were suffering from, which resonated very well with the youth who were also facing many of those issues. It was very popular and topped many of the more well-known artists. It had a new an appealing sound that differed from the rock and pop music of day. Grunge music is considered to be a sub-genre of rock with heavy overlap with other rock subgenres such as alternative, metal, and punk <ref> STRONG, C. (2016). GRUNGE: music and memory. S.l.: ROUTLEDGE. </ref>.The music contained a dirty and raw sound guitar sound, which gave the genre its name. This music has a significant effect on the culture of the Seattle area where is was started, which is no surprise due to the fact that music has always been a major component of cultural changes in society. There have been many scholarly articles citing its importance and during this time there was a major shift in attitudes towards the world and the people who lived in it, which emphasized the feelings correlated to alienation, depression, and suicide. However one may ask how music, subtracting the lyrics, could evoke such feelings, which in fact brings me to the focus of this capstone; the music theory behind grunge music that gave it its unique sound. <br><br> <br />
The music theory behind grunge music will explain how this music became so unique, but this calls into question of the definition music. In the most literal idea, one can see music as “vibrations in the air that are observed by us and then interpreted as sounds. These sounds play out over time, meaning that music is, therefore, sound over time” <ref> Samama, L., & Clements, D. (2016). What is music? In The Meaning of Music (pp. 27-31). Amsterdam University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/j.ctt1b9x1ts.5</ref>. However, that is way too literal and would infer that all sounds are music like all paintings are works of art. Music is way more sophisticated and can be seen as “multi-dimensional (and a) multimedia phenomenon’’ <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017.</ref>. Therefore music is grouped into seven different elements, which are rhythm, dynamics, melody, harmony, tone color, texture, and form to help identify the key differences between grunge music and say rap. These elements added to the sound and identity of the genre, so much so it stood out from the rest of the alternative genre, which grunge was a subgenre of, during that era. Below I have chosen 4 elements I feel distinguished the grunge genre of from that which was popular during the 1990’s and created the special sound to the music that allowed the artists to express their emotions. <br><br> <br />
<br />
==Musical Elements ==<br />
===Harmony === <br />
<br><br />
Harmony is very important to the creation of music, due to the fact it the way notes are played in relation to each other. This is a very technical and complex element of music that can be fairly hard to understand, so it is important to start at the beginning. There are seven notes in all of the music, not including all of the flats and sharps, A, B, C, D, E, F, G and these are the building blocks on which songs can then be built. The full list of notes which contain all the flats (b) and sharps (#) starting at A is '''A''', A#/Bb, '''B''', C, '''C#/Db''', '''D''', D#/Eb, '''E''', F, '''F#/Gb''', G, '''G#/Ab''', '''A''' and follows a pattern of 2212221, which gives a scale of A major. The pattern is followed by the bolded letters produces A, B, C#, D, E, F#, G#, and A as the A Major Scale. From the scale, one can then produce all of the chords that can be made from that key. A chord is several notes played together to that are separated by thirds, which produce notes that complement each other very well. The chords for an A major key would contain AC#E I (major), BDF# ii (minor), C#EG# iii (minor), DF#A IV (major), EG#B V (major), F#AC# vi (minor), G#BD vii0 (diminished). To form these 3 note chords, one takes the scale and starts at the first note in the scale, which in our case is A. Then, skip the next note, B, and chose C# to do this again for the third and last note of the chord. Your final chord will be AC#E, which is a major chord and they you do it for B, C#, etc. for the rest of the chords until you come back to your original note A. The chords are in a pattern of major, minor, minor, major, major, minor, and diminished, which are shown by the capitalized Roman numerals rather than the lower case ones and the 0 at the end means diminished. Another name this goes by is diatonic harmony and all this is the way notes relate with each other in a certain key. All of this can be replicated for all of the other keys in music to get chords. These chords then can be played in succession after one another and produce a chord progression. Some commonly used chord progressions in the key of A are ADE (I – IV- V) and BEA (ii-V-I). These chords and chord progression are what creates the harmony in the song and they are often used in term of how harsh they sound. The harshness of chords is quantified into dissonance and consonance. Dissonance is a very harsh sounding harmony and its chords known for creating tension in a piece. Consonance is a smooth sounding harmony that creates consonant chords, which resolves tension created by the dissonant chords. Chords are very important to music because it truly creates the mood of the music. More dissonant sounding music sounds almost unstable, eerie and sad. A really good example is Mozart’s Quartetto K. 465 "delle dissonanze". One can hear the very dissonant beginning and then throughout the rest of the piece, one can hear how dissonance is resolved by consonance (The Elements Of Music, 2017, p. 3). <htmltag tagname="iframe" id= width="200" height="150" src="https://www.youtube.com/embed/08uY0-ehL-w" frameborder="0" allowfullscreen></htmltag> <br />
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In grunge music, harmony played a large part in creating its aesthetic and sound. This music was very powerful and was known to use “power chords” (McDonald, 2000, p.355) as a “set of harmonic practices that rock musicians, particularly those who participate in the domain of guitar-oriented 'alternative' rock, have been using” (McDonald, 2000, p.355) <ref> McDonald, C. (2000). Exploring modal subversions in alternative music. Popular Music, 19(3), 355-363. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/853641 </ref>. These musicians were trying to break the mold of rock and alternative music so they tried new practices such as distorting the guitar’s sounds and choosing unique chord combinations. An example of this was the change of the power chords, which are normally fifths or fourths (McDonald, 2000, p.356). However, do to the heavy guitar distortion, created by overloading the signal into the amplifier, it created a more complex sound that allowed more sound to come from the notes played. This distortion allowed chords done in thirds to have a richer and fuller sounds and as a byproduct created a very dissonant sound (Biamonte, 2010, p. 97). Another in interesting part to grunge’s harmony was its use of “third or cross relations” (McDonald, 2000, p.357) that allows songs that were written in the key of A major and as we determined before C# would be the C note used, however in grunge music the C would incongruently change a minor third to C5 or Cb. This is what author Chris McDonald calls “modal subversion” (McDonald, 2000, p.357). It used constantly in these songs and an example of it would be in “Smells like Teen Spirit” by Nirvana. In this song the key is in F minor and in that scale A is natural but in “Smells like Teen Spirit” the A modulates to Ab (Osborn, 2013, 31) <ref> Osborn, B. (2013). Subverting the Verse–Chorus paradigm; terminally climactic forms in recent rock music. Music Theory Spectrum, 35(1), 23-47. doi:10.1525/mts.2013.35.1.23 <br />
</ref>. This a common theme in many grunge songs and gives its unique sounds, aesthetic, and emotion. <br />
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=== Rhythm ===<br />
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In music, the rhythm of a song is the time in which a song is played. This can be seen when a person is tapping one’s foot to the beat. The rhythm of the song is very important in creating the emotions of the song due to the fact that it determines how fast the piece is going to be. Encompassed in rhythm are sub-topics of duration, tempo, and meter, which helps the listener and musician to follow the structure of the piece. Rhythm tends to be more the technical part of the song but it carries much importance because without it the song would be a mess of lyrics and instruments without direction. So the duration is the length of time between each note and silence. It is used to bring attention to a certain section of the song because a very long note or silence is jarring to the listener. A silence can bring emphasis to the next note and add a complexity to the tempo of the song. The meter of the song is the repetition of accents and stresses that are arranged into the recognizable beat of the song. In a song, the accented notes tend to be the first note of the measure, however, to create more drama many artists utilize syncopation or the putting of accents on off-beats. The meter is emphasized by the song’s tempo or speed at which the beat is played. It is often known as beats per minute (bpm). The tempo of the song determines the level of excitement and mood of the song. It has been said by Gow that “the time-pattern upon his attention must be the excuse for the common conception of rhythm as the emotional element in music” (Gow, 1915, p. 637) or in layman terms. The pattern of sound, silence, and speed adds significantly to the emotions and feeling drawn from the piece so it is imperative that the artist uses the correct rhythm and tempo for the desired effect. An example of this would be how slow blues music tends to be around the 60 bpm and rock and roll music tends to be about 175 bpm. (Gow, 1915, p. 637- 642)<ref> Gow, G. (1915). Rhythm: The Life of Music. The Musical Quarterly, 1(4), 637-652. Retrieved from http://www.jstor.org/stable/738071 </ref> <br />
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Grunge music is all about the aesthetic of the music and many times it is difficult to derive the meaning of the lyrics due to the vocal quality or symbolic meaning of the lyrics. So it’s imperative to set the right tone via the rhythm because without that the song could be changed from a very dark and emotional piece to one that sounds happy and light. Therefore, the duration of the notes and silences have to create drama and angst. The meter must accentuate the right beat and word of the lyrics to make them pop. One consistency round most grunge music is its timed meter, which was 4/4 time or four beats per measure. The emphasis on notes tended to be inconsistent though because it was really dependent on the lyrics. Some songs did use accents of off-beats to draw more attention to one part or another. Meter also creates the structure to the song. Without that the song has very similar and boring notes with no structure. The tempo has to give the song the right attitude. So in grunge music artists wanted a tempo to reflect sadness and depression that they often felt, but they but they wanted to be interesting and attention grabbing. So many artist chooses tempos from around 90-120 (bpm) there was no exact range to the tempos. It was really up to the musician’s ear. However, one can tell that the artist chose the right tempo, if the emotions were portrayed foremost in the music. A good example would be to speed up or slow down a grunge song.<br />
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When that is done, ignoring the higher pitch of Cobain's voice, it is obvious that one will not get the same emphasis on themes of the music leaving the song useless to the artist. The grunge artist needed the aesthetic of angst and pain to drip from the lyrics to get his point across. <br />
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=== Dynamics ===<br />
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The dynamics of a song is the loudness and or softness at which the song is played at. A song can be played very loudly, fortissimo, or very softly, pianissimo, and it would create a different interpretation of the song. Some genres of music tend to produce quieter music while others like to blast their audience with their music. An artist can also have a range of volumes with many choosing sections of their song to be quieter to emphasize the words or the music’s complexity and others sections being softer to portray emotions. Sometimes the artist wants to create a buildup of tension in the song so he or she will use a crescendo, getting louder, or a decrescendo, getting softer to achieve it. Another part of dynamics, which was touched on in rhythm, is accenting a note or “leaning into a note” <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017. </ref> and it creates a unique sound. It is important to use dynamics because it keeps the music interesting. A lovely example that many people have probably heard before would be in Richard Strauss's Also Sprach Zarathustra, Op. 30. <br><br />
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It starts our pianissimo and then crescendos to fortissimo until it is absolutely blaring. These dynamics are meant to grab the attention of the audience and awaken anyone who has fallen asleep during the very quiet part. Dynamics are an important part of the music creation process due to the fact that a combination of these dynamics creates the genre's signature style. Hardcore rock is known to bombard their audience with sound while other genres such as country tend to have a moderate volume. <br />
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Dynamics is another really important element in grunge music because it can be used as an emphasis on particular parts of the song. The song could go from a verse of quiet reflection to a chorus of raging anger. This element is interlinked with all of the other elements to create the song the way that artist meant to portray it. Many of the grunge artists use dynamics to emphasize the themes of the song. So while many songs of the grunge genre do tend to vacillate between very loud and quiet, not every song does. It all depends on the themes and emotions of the songs. An example of the differences would be comparing the dynamics of Black Hole Sun by Soundgarden and Glycerine by Bush. They are both classified under the genre of grunge music, but they have totally different dynamics. In Black Hole Sun, the first verse starts out pretty quiet to emphasize the almost euphoric nature of words and the invisibility the singer feels. Then in the chorus, there is a large increase in volume which tries to capture the anger and pain of his invisibility. However, in Glycerine, the verse starts out pretty quiet and has a mournful tone and it crescendos ever so slightly into the chorus which is still mournful plus a bit remorseful also. The dynamics are used in grunge as an emphasis on certain feelings and emotions and though some do have a pattern of a quietverse and loud chorus some use other dynamics to get their point across. <br />
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=== Form ===<br />
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In music, the element of form is a combination of the repetition, contrast, and continuity that creates a song’s uniqueness. The form is very dependent on the other elements of music because it is the way the music is arranged. There is a mixture of musical ideas that are carefully arranged to create the meaning behind the music, which is illustrated when the chorus, speaking both lyrically and instrumentally, is repeated. To differentiate the diversions in music, letters such as A, B, C, are used. This is used determine the slight variation in musical patterns. Repetition is often utilized in form to set the theme of the song. This is seen when the chorus is repeated or the verse lyrics change and music stays the same. Repetition in music is known to create continuity and is usually done with a catchy chorus. Contrarily when there is a change or contrast in music, it is often used to note a shift in mood. The form includes a myriad of types including strophic, binary, verse/chorus song, and ternary forms. These types of forms are derived from the repetition, contrast, and continuity referred to previously. The strophic form is when the same music is repeated over and over for several verses of music. This is the most basic form, which lacks contrast and is all repetition. The message the song is trying to portray is usually very elementary. In the binary form, there are two parts. It uses contrast to highlight the question answer music phrasing between the similar phrasing contrasting section. A combination between the binary and strophic forms is the Verse/ Chorus Song form. It alternates between the storytelling verses, which contain different lyrics each verse, and the recurring chorus. <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017</ref>. It creates the feeling of familiarity and allows for many ideas and feelings to be told and then reiterated in the chorus, which is very important in grunge music. The last form being covered is the ternary from. It is a three-part form that has a repletion of the first verse, with different lyrics, which then processes to the chorus and returns back to the theme of the first verse. The form is very diverse in music and can evoke different emotions. So one can see how important it is to grunge music because of its ability to highlight the different parts of the song through repetition, contrast, and continuity. <br />
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Grunge music is primarily about emotions and social issues that plagued many of the youth during that time, so it is very important to have the music bring attention to these issues through the phrasing of the chorus and verses. Songs In the 1990’s many rock songs followed a verse-chorus form, which Brad Osborn likes to call the “verse-chorus paradigm” (Osborn, 2013, p. 23). <ref> Osborn, B. (2013). Subverting the Verse–Chorus Paradigm: Terminally Climactic Forms in Recent Rock Music. Music Theory Spectrum, 35(1), 23-47. doi:10.1525/mts.2013.35.1.23 </ref> or in less layman terms a verse-chorus pattern. Osborn then quotes John Covach who says “In a verse-chorus [form]...the focus of the song is squarely on the chorus...[T]he verses serve primarily to prepare the return of the chorus’’ (Osborn, 2013, p. 23) and this makes the song sound like it’s using the chorus as the main bringer of emotion to the song. Many grunge songs, due to the fact that they are part of the rock genre, did use this form. It allowed many of the emotions of the first verse to be realized and then an overall feeling of dissatisfaction to be released about these feelings. This can especially be seen in “Heart-Shaped Box” by Nirvana, which starts with verse 1 <div style="text-align: center;"> She eyes me like a Pisces when I am weak <br><br />
I've been locked inside your heart-shaped box for weeks <br><br />
I've been drawn into your magnetar pit trap trap <br><br />
I wish I could eat your cancer when you turn black<ref> https://play.google.com/music/preview/Ttdyvwmcelupwuxwf6fsabw2qwq?lyrics=1&utm_source=google&utm_medium=search&utm_campaign=lyrics&pcampaignid=kp-lyrics </ref> </div><br>. The music plays on the use of the verse-chorus form to highlight the emotions of feeling trapped and helpless, which are then built on during the chorus <div style="text-align: center;"> Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice <br><br />
Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice<br><br />
Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice, your advice<ref> https://play.google.com/music/preview/Ttdyvwmcelupwuxwf6fsabw2qwq?lyrics=1&utm_source=google&utm_medium=search&utm_campaign=lyrics&pcampaignid=kp-lyrics </ref> </div><br>. The chorus is emphasizing the trapped feeling the singer is feeling, which he compares to debt. He feels that he is ever in debt and trapped. The next verse, which is musically a mirror of the first verse, but the lyrics speak of the great helpless he feels. This form allows great emphasis on the chorus and it also climaxes at the end when the last chorus is repeated. However, not every grunge song contained this form. In Glycerine by Bush, the song has a much different form, but still allows the emotions of sorrow and regret be portrayed to the audience. <br />
It’s all about the emotions being reached. They did not need to use this form to release and tell all of the audience their problems. It can be reached just as well with other songs <br />
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=Section 2: Elements of Writing a Grunge Song=<br />
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== A Satirical Way of Writing a Grunge Song==<br />
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So now that we have a solid understanding of what harmony, rhythm, dynamics, and form are and how they are used in grunge music, we are now ready to write a song that emphasizes the true elements of grunge music. Here we are going to go step by step and identify how to create one of these grunge songs. We will be looking back at both our background and analysis of grunge songs to help us determine the best way to make a number one seller like “Smells Like Teen Spirit” by Nirvana. If one is not familiar with a lot of grunge music, I would suggest looking at my page [[Grunge in London|Grunge in London]]. That page will give you more background and information about the grunge era and includes some of its iconic songs from artists both from America and London. The purpose of this is to create a light-hearted and funny guide that highlights the both the technical aspects of grunge music and its unique sound that was learned in the background. While also pointing out repetitive nature of the themes, its inaudible lyrics, and their creepy videos. This is all made in good fun and is not meant to diminish any of the personal problems that these singers faced. They had very serious problems that some were not able to overcome and many did use music as an outlet to express their emotions. But for our purposes, we are focusing more on the teen angst portion, which contains more insignificant problems like Wi-Fi buffering or not having the latest video game, which is trying to fit in with this current generation of teenagers in a world of technology. From this, we will produce steps to creating a chart-topping, show-stopping, musical genius of a grunge song that has the consideration of the elements of music we analyzed. <br />
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==Drawing Inspiration ==<br />
Grunge music was very much known for its aesthetic and its ability to connect with the youth of generation x or those born in the 1990’s. It covered many “distasteful” topics such as depression, suicide, and alienation, which many grunge artists experienced and fought a daily battle to overcome. Today, many still listen to grunge music and find it comforting to know that there were others out there going through the same struggles of feeling forgotten, rejected and lost. But for those who feel that grunge music does not fit in with their technology filled life, they may want to create a grunge song that covers a topic they feel creates negative feelings for them. So to get into the proper mindset to write this song, one must dig deep into the recesses of his or her feelings of teen angst to dig out some sort of darker emotions. May I suggest a YouTube video of a pug who can’t roll over, not having enough phone data, or trying to watch the finale of your favorite show but the Wi-Fi keeps buffering the video? Think of something that is basically insignificant to the rest of the world and only really matters to you. A bad selfie would qualify as a good one also but may need to be prefaced that it was posted to social media and your crush may see it. Horrifying I know! Once you have found the feelings you would like to express in your song, start thinking of how you would like to portray those emotions and what you would like the overall sound to be. These feelings will be the base of your song and all of your further decisions will be based on the mood created by these emotions. I have personally dug out from the recesses of my long-buried teen nerdy angst the feeling of anxiety and sorrow when my code wouldn’t compile. <br><br />
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== Emotion and Harmony ==<br />
Your next step is choosing how you would like to portray that to your listeners. I would do this by making it sound like the world will end if the code doesn’t work and that all will be lost. Don’t be afraid to be over dramatic. That’s what attracts people to the music is the drama and emotion. Right? Now that that has been cleared up, the actual song can now be written. One must start with the most crucial part first, the harmony. When done right, the harmony helps to create the emotion of the music. In grunge, musicians experimented with a variety of different techniques and ideas. They wanted to step out of the norm of alternative music. So, they experimented the chords of the music and found that when they distort the note a great deal it produces a much richer sound that reaches higher. Therefore, much of grunge music is written in 3 note chords which stem from a key signature. So, the first part of creating your harmony is deciding what key you would like your song, which you could do by picking you favorite note. I will be arbitrarily picking the key of F major. If you have a favorite key pick that one; it will make it more personal to you. Next, for choosing your chord progressions pick whatever sounds good together. Also, make sure to have at least one modulation of a note in there. It is a grunge classic and a must if you want your song to be grunge. This will create the dissonance you are looking for and will add to any emotion ranging from hatred to anxiety. Wow look at that, after playing with chords for a few hours, you will be able to get some chord progressions that you like. At this stage, you will also have to decide what instruments you would like to use. You honestly can’t go wrong with the grunge classic of guitar, bass guitar and drum set. If you are feeling fancy you could add another instrument to complement your theme and mood.<br><br />
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== Final Steps ==<br />
After your harmony is all figured out, which will probably take a while, you will need to figure out your rhythm. The rhythm as stated before is really based on the emotion of the song so you’re going to need to play around with the speeds until you feel it has reached the right mood to represent the emotions you are trying to portray. Many grunge pieces have a range from 90-120 (bpm), but feel free to choose one that best suits the song. Dynamics is another important part of the piece do to that fact it determines what sections are loud and what sections are softer. Many times gunge utilized dynamics to create a call and response type of sound in the song. It also had the power to create tension in a song so it may work for your song if that is what you are striving for. One may also put accents on different parts of the song where you want to highlight a lyrics. The last thing you’ll need is the form of the song or how it the song is constructed both lyrically and musically. It is all about the repetition of the song of the chorus and its verses. The classic rock and grunge form of the 1990s was the verse-chorus form that focused its attention to the chorus. This is a really nice form for if you are highlighting your chorus. Though all grunge songs did not use this form, they also achieved their aesthetic by used other forms. So feel free to look into other forms that may make your song more grunge. The last requirement to writing a grunge song is lyrics! All grunge songs contained lyrics that expressed their emotions, so make your lyrics emotional and full of angst. As a bonus, have your singer sing very muffled and with almost unintelligible manner. It seemed really popular with bands such as Nirvana and Radiohead. You can't really hear the lyrics but you still felt a deep emotional connection to them. Any of these steps can be done in any order, so maybe start with the harmony or lyrics and form. It's really up to you. Much of the genre was experimentation held together by angst and great chords. And there you have it! You have created the next “Smells Like Teen Spirit”. Now go out and share your amazing song with the world, brace the world for its awesomeness! <br />
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= Musical analysis of songs =<br />
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Taking what has been learned about harmony, rhythm, dynamics, and form and its importance to grunge music now lets look at some songs created in the "grunge" music style. Keep in mind that you're just taking a small slice of examples and that this table isn't all-encompassing. Also note that some of the harmony listed is a general overview of the keys/tonalities explored. Find out more about grunge music and its history [[Grunge in London|here]]. <br />
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{| class="wikitable" width="80%"<br />
|-<br />
! scope="row"| Grunge Music of the Late 1980's - Mid 1990's<br />
|-<br />
! Musical Elements <br />
! Heart Shaped Box <br />
! Black Hole Sun <br />
! Creep<br />
! Glycerine <br />
! Man in the Box<br />
|-<br />
! scope="row"| Artist <br />
| align="center"| Nirvana <br />
| align="center"| Soundgarden <br />
| align="center"| Radiohead<br />
| align="center"| Bush <br />
| align="center"| Alice in Chains <br />
|-<br />
! scope="row"| Rhythm<br />
| align="center"| <br />
* Time Signature: 4/4<br />
*Tempo: Moderately (108 - 120 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: 120 bpm<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: (90-93 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: Moderately (112-116 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: Moderately (107-109 bpm)<br />
|-<br />
! scope="row"| Harmony<br />
| align="center"| <br />
* Key: A minor<br />
*Major Chords: A5, F5, D5/ A, F5, D7<br />
*Chord Progressions: A5, F5, D5, A, D7<br />
| align="center"|<br />
* Key: F major<br />
*Major Chords: Gsus, G6, Bb6, F5, Em<br />
| align="center"|<br />
* Key: G major<br />
*Major Chords: G, B, C, Cm<br />
*Chord Progressions: G, B, C, Cm<br />
| align="center"|<br />
* Key: F major<br />
*Major Chords: F, C5, D5, Bb5<br />
*Chord Progressions: F, C5, D5, Bb5<br />
| align="center"|<br />
* Key: E minor <br />
* Major Chords: Em, E5, G, D, A<br />
*Chord Progressions: G5 G6 G5 G6 C E5<br />
|-<br />
! scope="row"| Dynamics <br />
| align="center"| <br />
*quiet verse and roaring chorus <br />
| align="center"|<br />
*quiet verse and roaring chorus <br />
| align="center"|<br />
*quiet verse and roaring chorus <br />
*crescendo to chorus <br />
*decrescendo to verse <br />
| align="center"|<br />
*quiet crescendo loud moderate level<br />
| align="center"|<br />
*moderate <br />
|-<br />
! scope="row"| Form <br />
| align="center"| <br />
*verse/chorus song form <br />
| align="center"|<br />
*verse/chorus song form <br />
| align="center"|<br />
*verse/chorus song form<br />
| align="center"|<br />
* verse/chorus/ bridge form <br />
| align="center"|<br />
*ABABB Form <br />
|- <br />
|}<br />
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=Conclusion=<br />
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In this project, I did an analysis of music theory from the point of view of grunge music. Music, in general, is so incredibly versatile with its ability to change one element to change the whole song and its intentions. All of the elements of music are important to delivering the music’s message. So I decided to look at grunge music though four of the elements of music to give an in-depth analysis on how these elements create the grunge sound. I also looked for ways the elements of music tied the whole genre together and gave it its particular sound. Grunge music was a unique genre that popped up as a sub-genera of alternative music, so I wanted to see what made it stand out from the rest. I determined that the genre itself was notable for its emotional connection to the music. The artists took advantage of rhythm, form, dynamics, and harmony to fit their feelings of depression, angst, and anger. Most notable they changed the way chords were heard by distorting the music’s sounds. It created a fuller sound and changed the chord progressions. They were very experimental and passionate about their music and led me to a “pattern” in their music, which was that it had to be full of emotion and it had to have distortion of chords that allowed them to modulate certain notes. I was then able to play off of this pattern to create a satirized guide to creating grunge music. In the future, I would like to see more research done on patterns in grunge music because this music created a generation and still inspires many today. <br />
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=External Links=<br />
[[Grunge in London| Grunge in London]]<br />
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=References=<br />
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[[Category:Music Projects]]<br />
[[Category:2017]]<br />
<br><br></div>Kfconroyhttps://londonhuawiki.wpi.edu/index.php?title=Music_Theory_behind_Grunge_Music&diff=19005Music Theory behind Grunge Music2017-06-22T11:15:50Z<p>Kfconroy: </p>
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by [[User:Kfconroy|Katharine Conory]]<br><br />
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=Abstract=<br />
The objective of this milestone is to take all that I have learned from my [[Grunge in London|Grunge in London]] Capstone to analyze the music through the lens of music theory. I was able to see what grunge music has to offer by way of harmony, rhythm, dynamics, and form, which are some of the elements of all music. For my deliverable, I took all that I learned from this analysis of grunge music from a music theory background to create my own guide to what a grunge song would contain in the way of harmony, rhythm, dynamics and form with examples of what I would do. <br> <br><br />
For this project, I drew back on my past experience with music theory and my violin background. This is slightly challenging due to the fact that harmony for a violin is much simpler for a violin than a guitar. In high school, I took several music classes and was in both chorus and band. I hope to gain more knowledge about music theory and help others understand music as well. <br />
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=Introduction=<br />
This project is meant to introduce those who enjoy music to the music theory or backbone of music that makes it sounds a certain way or gives it a certain emotion. Music is defined by its elements, which allows a certain genre of music sounds different than another. So, I distinguished four important elements of music and did an in-depth analysis of each with a comparison of grunge to popular rock music of that time. From that analysis, I then produced a guide to producing gunge songs from a satirical background with examples of what I would do. <br> <br><br />
In my research, I found that grunge was more covered as a social and ethical topic with little being covered about the music itself. It was difficult to find much on the elements of music in respect to the grunge genre itself, but I did find some info on it under the umbrella of alternative. I discovered that its sound and style was primarily based off of the music’s harmony with the rhythm, form, and dynamics still very important to its overall sound. But, there was no real pattern to the music. Together in had a unique sound due to the harmonic practices, but what really kept the genre a genre was the music’s attitude and the taboo topics it tried to address. Each artist has its own unique style and sound but they all fell into the same genre. This project needs more research to fully grasp the musical differences between grunge music and the popular rock of the time. <br />
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=Section 1: Background=<br />
Grunge was a style choice, a cultural movement and most importantly a music style that appeared in the late 1980’s to the early 1990’s, which songs had focused on topics of a taboo nature such as alienation, depression, and suicide. The movement focused on using their music to enlighten those around them about the problems that they were suffering from, which resonated very well with the youth who were also facing many of those issues. It was very popular and topped many of the more well-known artists. It had a new an appealing sound that differed from the rock and pop music of day. Grunge music is considered to be a sub-genre of rock with heavy overlap with other rock subgenres such as alternative, metal, and punk <ref> STRONG, C. (2016). GRUNGE: music and memory. S.l.: ROUTLEDGE. </ref>.The music contained a dirty and raw sound guitar sound, which gave the genre its name. This music has a significant effect on the culture of the Seattle area where is was started, which is no surprise due to the fact that music has always been a major component of cultural changes in society. There have been many scholarly articles citing its importance and during this time there was a major shift in attitudes towards the world and the people who lived in it, which emphasized the feelings correlated to alienation, depression, and suicide. However one may ask how music, subtracting the lyrics, could evoke such feelings, which in fact brings me to the focus of this capstone; the music theory behind grunge music that gave it its unique sound. <br><br> <br />
The music theory behind grunge music will explain how this music became so unique, but this calls into question of the definition music. In the most literal idea, one can see music as “vibrations in the air that are observed by us and then interpreted as sounds. These sounds play out over time, meaning that music is, therefore, sound over time” <ref> Samama, L., & Clements, D. (2016). What is music? In The Meaning of Music (pp. 27-31). Amsterdam University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/j.ctt1b9x1ts.5</ref>. However, that is way too literal and would infer that all sounds are music like all paintings are works of art. Music is way more sophisticated and can be seen as “multi-dimensional (and a) multimedia phenomenon’’ <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017.</ref>. Therefore music is grouped into seven different elements, which are rhythm, dynamics, melody, harmony, tone color, texture, and form to help identify the key differences between grunge music and say rap. These elements added to the sound and identity of the genre, so much so it stood out from the rest of the alternative genre, which grunge was a subgenre of, during that era. Below I have chosen 4 elements I feel distinguished the grunge genre of from that which was popular during the 1990’s and created the special sound to the music that allowed the artists to express their emotions. <br><br> <br />
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==Musical Elements ==<br />
===Harmony === <br />
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Harmony is very important to the creation of music, due to the fact it the way notes are played in relation to each other. This is a very technical and complex element of music that can be fairly hard to understand, so it is important to start at the beginning. There are seven notes in all of the music, not including all of the flats and sharps, A, B, C, D, E, F, G and these are the building blocks on which songs can then be built. The full list of notes which contain all the flats (b) and sharps (#) starting at A is '''A''', A#/Bb, '''B''', C, '''C#/Db''', '''D''', D#/Eb, '''E''', F, '''F#/Gb''', G, '''G#/Ab''', '''A''' and follows a pattern of 2212221, which gives a scale of A major. The pattern is followed by the bolded letters produces A, B, C#, D, E, F#, G#, and A as the A Major Scale. From the scale, one can then produce all of the chords that can be made from that key. A chord is several notes played together to that are separated by thirds, which produce notes that complement each other very well. The chords for an A major key would contain AC#E I (major), BDF# ii (minor), C#EG# iii (minor), DF#A IV (major), EG#B V (major), F#AC# vi (minor), G#BD vii0 (diminished). To form these 3 note chords, one takes the scale and starts at the first note in the scale, which in our case is A. Then, skip the next note, B, and chose C# to do this again for the third and last note of the chord. Your final chord will be AC#E, which is a major chord and they you do it for B, C#, etc. for the rest of the chords until you come back to your original note A. The chords are in a pattern of major, minor, minor, major, major, minor, and diminished, which are shown by the capitalized Roman numerals rather than the lower case ones and the 0 at the end means diminished. Another name this goes by is diatonic harmony and all this is the way notes relate with each other in a certain key. All of this can be replicated for all of the other keys in music to get chords. These chords then can be played in succession after one another and produce a chord progression. Some commonly used chord progressions in the key of A are ADE (I – IV- V) and BEA (ii-V-I). These chords and chord progression are what creates the harmony in the song and they are often used in term of how harsh they sound. The harshness of chords is quantified into dissonance and consonance. Dissonance is a very harsh sounding harmony and its chords known for creating tension in a piece. Consonance is a smooth sounding harmony that creates consonant chords, which resolves tension created by the dissonant chords. Chords are very important to music because it truly creates the mood of the music. More dissonant sounding music sounds almost unstable, eerie and sad. A really good example is Mozart’s Quartetto K. 465 "delle dissonanze". One can hear the very dissonant beginning and then throughout the rest of the piece, one can hear how dissonance is resolved by consonance (The Elements Of Music, 2017, p. 3). <htmltag tagname="iframe" id= width="200" height="150" src="https://www.youtube.com/embed/08uY0-ehL-w" frameborder="0" allowfullscreen></htmltag> <br />
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In grunge music, harmony played a large part in creating its aesthetic and sound. This music was very powerful and was known to use “power chords” (McDonald, 2000, p.355) as a “set of harmonic practices that rock musicians, particularly those who participate in the domain of guitar-oriented 'alternative' rock, have been using” (McDonald, 2000, p.355) <ref> McDonald, C. (2000). Exploring modal subversions in alternative music. Popular Music, 19(3), 355-363. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/853641 </ref>. These musicians were trying to break the mold of rock and alternative music so they tried new practices such as distorting the guitar’s sounds and choosing unique chord combinations. An example of this was the change of the power chords, which are normally fifths or fourths (McDonald, 2000, p.356). However, do to the heavy guitar distortion, created by overloading the signal into the amplifier, it created a more complex sound that allowed more sound to come from the notes played. This distortion allowed chords done in thirds to have a richer and fuller sounds and as a byproduct created a very dissonant sound (Biamonte, 2010, p. 97). Another in interesting part to grunge’s harmony was its use of “third or cross relations” (McDonald, 2000, p.357) that allows songs that were written in the key of A major and as we determined before C# would be the C note used, however in grunge music the C would incongruently change a minor third to C5 or Cb. This is what author Chris McDonald calls “modal subversion” (McDonald, 2000, p.357). It used constantly in these songs and an example of it would be in “Smells like Teen Spirit” by Nirvana. In this song the key is in F minor and in that scale A is natural but in “Smells like Teen Spirit” the A modulates to Ab (Osborn, 2013, 31) <ref> Osborn, B. (2013). Subverting the Verse–Chorus paradigm; terminally climactic forms in recent rock music. Music Theory Spectrum, 35(1), 23-47. doi:10.1525/mts.2013.35.1.23 <br />
</ref>. This a common theme in many grunge songs and gives its unique sounds, aesthetic, and emotion. <br />
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=== Rhythm ===<br />
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In music, the rhythm of a song is the time in which a song is played. This can be seen when a person is tapping one’s foot to the beat. The rhythm of the song is very important in creating the emotions of the song due to the fact that it determines how fast the piece is going to be. Encompassed in rhythm are sub-topics of duration, tempo, and meter, which helps the listener and musician to follow the structure of the piece. Rhythm tends to be more the technical part of the song but it carries much importance because without it the song would be a mess of lyrics and instruments without direction. So the duration is the length of time between each note and silence. It is used to bring attention to a certain section of the song because a very long note or silence is jarring to the listener. A silence can bring emphasis to the next note and add a complexity to the tempo of the song. The meter of the song is the repetition of accents and stresses that are arranged into the recognizable beat of the song. In a song, the accented notes tend to be the first note of the measure, however, to create more drama many artists utilize syncopation or the putting of accents on off-beats. The meter is emphasized by the song’s tempo or speed at which the beat is played. It is often known as beats per minute (bpm). The tempo of the song determines the level of excitement and mood of the song. It has been said by Gow that “the time-pattern upon his attention must be the excuse for the common conception of rhythm as the emotional element in music” (Gow, 1915, p. 637) or in layman terms. The pattern of sound, silence, and speed adds significantly to the emotions and feeling drawn from the piece so it is imperative that the artist uses the correct rhythm and tempo for the desired effect. An example of this would be how slow blues music tends to be around the 60 bpm and rock and roll music tends to be about 175 bpm. (Gow, 1915, p. 637- 642)<ref> Gow, G. (1915). Rhythm: The Life of Music. The Musical Quarterly, 1(4), 637-652. Retrieved from http://www.jstor.org/stable/738071 </ref> <br />
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Grunge music is all about the aesthetic of the music and many times it is difficult to derive the meaning of the lyrics due to the vocal quality or symbolic meaning of the lyrics. So it’s imperative to set the right tone via the rhythm because without that the song could be changed from a very dark and emotional piece to one that sounds happy and light. Therefore, the duration of the notes and silences have to create drama and angst. The meter must accentuate the right beat and word of the lyrics to make them pop. One consistency round most grunge music is its timed meter, which was 4/4 time or four beats per measure. The emphasis on notes tended to be inconsistent though because it was really dependent on the lyrics. Some songs did use accents of off-beats to draw more attention to one part or another. Meter also creates the structure to the song. Without that the song has very similar and boring notes with no structure. The tempo has to give the song the right attitude. So in grunge music artists wanted a tempo to reflect sadness and depression that they often felt, but they but they wanted to be interesting and attention grabbing. So many artist chooses tempos from around 90-120 (bpm) there was no exact range to the tempos. It was really up to the musician’s ear. However, one can tell that the artist chose the right tempo, if the emotions were portrayed foremost in the music. A good example would be to speed up or slow down a grunge song.<br />
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When that is done, ignoring the higher pitch of Cobain's voice, it is obvious that one will not get the same emphasis on themes of the music leaving the song useless to the artist. The grunge artist needed the aesthetic of angst and pain to drip from the lyrics to get his point across. <br />
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=== Dynamics ===<br />
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The dynamics of a song is the loudness and or softness at which the song is played at. A song can be played very loudly, fortissimo, or very softly, pianissimo, and it would create a different interpretation of the song. Some genres of music tend to produce quieter music while others like to blast their audience with their music. An artist can also have a range of volumes with many choosing sections of their song to be quieter to emphasize the words or the music’s complexity and others sections being softer to portray emotions. Sometimes the artist wants to create a buildup of tension in the song so he or she will use a crescendo, getting louder, or a decrescendo, getting softer to achieve it. Another part of dynamics, which was touched on in rhythm, is accenting a note or “leaning into a note” <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017. </ref> and it creates a unique sound. It is important to use dynamics because it keeps the music interesting. A lovely example that many people have probably heard before would be in Richard Strauss's Also Sprach Zarathustra, Op. 30. <br><br />
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It starts our pianissimo and then crescendos to fortissimo until it is absolutely blaring. These dynamics are meant to grab the attention of the audience and awaken anyone who has fallen asleep during the very quiet part. Dynamics are an important part of the music creation process due to the fact that a combination of these dynamics creates the genre's signature style. Hardcore rock is known to bombard their audience with sound while other genres such as country tend to have a moderate volume. <br />
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Dynamics is another really important element in grunge music because it can be used as an emphasis on particular parts of the song. The song could go from a verse of quiet reflection to a chorus of raging anger. This element is interlinked with all of the other elements to create the song the way that artist meant to portray it. Many of the grunge artists use dynamics to emphasize the themes of the song. So while many songs of the grunge genre do tend to vacillate between very loud and quiet, not every song does. It all depends on the themes and emotions of the songs. An example of the differences would be comparing the dynamics of Black Hole Sun by Soundgarden and Glycerine by Bush. They are both classified under the genre of grunge music, but they have totally different dynamics. In Black Hole Sun, the first verse starts out pretty quiet to emphasize the almost euphoric nature of words and the invisibility the singer feels. Then in the chorus, there is a large increase in volume which tries to capture the anger and pain of his invisibility. However, in Glycerine, the verse starts out pretty quiet and has a mournful tone and it crescendos ever so slightly into the chorus which is still mournful plus a bit remorseful also. The dynamics are used in grunge as an emphasis on certain feelings and emotions and though some do have a pattern of a quite verse and loud chorus some use other dynamics to get their point across. <br />
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=== Form ===<br />
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In music, the element of form is a combination of the repetition, contrast, and continuity that creates a song’s uniqueness. The form is very dependent on the other elements of music because it is the way the music is arranged. There is a mixture of musical ideas that are carefully arranged to create the meaning behind the music, which is illustrated when the chorus, speaking both lyrically and instrumentally, is repeated. To differentiate the diversions in music, letters such as A, B, C, are used. This is used determine the slight variation in musical patterns. Repetition is often utilized in form to set the theme of the song. This is seen when the chorus is repeated or the verse lyrics change and music stays the same. Repetition in music is known to create continuity and is usually done with a catchy chorus. Contrarily when there is a change or contrast in music, it is often used to note a shift in mood. The form includes a myriad of types including strophic, binary, verse/chorus song, and ternary forms. These types of forms are derived from the repetition, contrast, and continuity referred to previously. The strophic form is when the same music is repeated over and over for several verses of music. This is the most basic form, which lacks contrast and is all repetition. The message the song is trying to portray is usually very elementary. In the binary form, there are two parts. It uses contrast to highlight the question answer music phrasing between the similar phrasing contrasting section. A combination between the binary and strophic forms is the Verse/ Chorus Song form. It alternates between the storytelling verses, which contain different lyrics each verse, and the recurring chorus. <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017</ref>. It creates the feeling of familiarity and allows for many ideas and feelings to be told and then reiterated in the chorus, which is very important in grunge music. The last form being covered is the ternary from. It is a three-part form that has a repletion of the first verse, with different lyrics, which then processes to the chorus and returns back to the theme of the first verse. The form is very diverse in music and can evoke different emotions. So one can see how important it is to grunge music because of its ability to highlight the different parts of the song through repetition, contrast, and continuity. <br />
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Grunge music is primarily about emotions and social issues that plagued many of the youth during that time, so it is very important to have the music bring attention to these issues through the phrasing of the chorus and verses. Songs In the 1990’s many rock songs followed a verse-chorus form, which Brad Osborn likes to call the “verse-chorus paradigm” (Osborn, 2013, p. 23). <ref> Osborn, B. (2013). Subverting the Verse–Chorus Paradigm: Terminally Climactic Forms in Recent Rock Music. Music Theory Spectrum, 35(1), 23-47. doi:10.1525/mts.2013.35.1.23 </ref> or in less layman terms a verse-chorus pattern. Osborn then quotes John Covach who says “In a verse-chorus [form]...the focus of the song is squarely on the chorus...[T]he verses serve primarily to prepare the return of the chorus’’ (Osborn, 2013, p. 23) and this makes the song sound like it’s using the chorus as the main bringer of emotion to the song. Many grunge songs, due to the fact that they are part of the rock genre, did use this form. It allowed many of the emotions of the first verse to be realized and then an overall feeling of dissatisfaction to be released about these feelings. This can especially be seen in “Heart-Shaped Box” by Nirvana, which starts with verse 1 <div style="text-align: center;"> She eyes me like a Pisces when I am weak <br><br />
I've been locked inside your heart-shaped box for weeks <br><br />
I've been drawn into your magnetar pit trap trap <br><br />
I wish I could eat your cancer when you turn black<ref> https://play.google.com/music/preview/Ttdyvwmcelupwuxwf6fsabw2qwq?lyrics=1&utm_source=google&utm_medium=search&utm_campaign=lyrics&pcampaignid=kp-lyrics </ref> </div><br>. The music plays on the use of the verse-chorus form to highlight the emotions of feeling trapped and helpless, which are then built on during the chorus <div style="text-align: center;"> Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice <br><br />
Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice<br><br />
Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice, your advice<ref> https://play.google.com/music/preview/Ttdyvwmcelupwuxwf6fsabw2qwq?lyrics=1&utm_source=google&utm_medium=search&utm_campaign=lyrics&pcampaignid=kp-lyrics </ref> </div><br>. The chorus is emphasizing the trapped feeling the singer is feeling, which he compares to debt. He feels that he is ever in debt and trapped. The next verse, which is musically a mirror of the first verse, but the lyrics speak of the great helpless he feels. This form allows great emphasis on the chorus and it also climaxes at the end when the last chorus is repeated. However, not every grunge song contained this form. In Glycerine by Bush, the song has a much different form, but still allows the emotions of sorrow and regret be portrayed to the audience. <br />
It’s all about the emotions being reached. They did not need to use this form to release and tell all of the audience their problems. It can be reached just as well with other songs <br />
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=Section 2: Elements of Writing a Grunge Song=<br />
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== A Satirical Way of Writing a Grunge Song==<br />
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So now that we have a solid understanding of what harmony, rhythm, dynamics, and form are and how they are used in grunge music, we are now ready to write a song that emphasizes the true elements of grunge music. Here we are going to go step by step and identify how to create one of these grunge songs. We will be looking back at both our background and analysis of grunge songs to help us determine the best way to make a number one seller like “Smells Like Teen Spirit” by Nirvana. If one is not familiar with a lot of grunge music, I would suggest looking at my page [[Grunge in London|Grunge in London]]. That page will give you more background and information about the grunge era and includes some of its iconic songs from artists both from America and London. The purpose of this is to create a light-hearted and funny guide that highlights the both the technical aspects of grunge music and its unique sound that was learned in the background. While also pointing out repetitive nature of the themes, its inaudible lyrics, and their creepy videos. This is all made in good fun and is not meant to diminish any of the personal problems that these singers faced. They had very serious problems that some were not able to overcome and many did use music as an outlet to express their emotions. But for our purposes, we are focusing more on the teen angst portion, which contains more insignificant problems like Wi-Fi buffering or not having the latest video game, which is trying to fit in with this current generation of teenagers in a world of technology. From this, we will produce steps to creating a chart-topping, show-stopping, musical genius of a grunge song that has the consideration of the elements of music we analyzed. <br />
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==Drawing Inspiration ==<br />
Grunge music was very much known for its aesthetic and its ability to connect with the youth of generation x or those born in the 1990’s. It covered many “distasteful” topics such as depression, suicide, and alienation, which many grunge artists experienced and fought a daily battle to overcome. Today, many still listen to grunge music and find it comforting to know that there were others out there going through the same struggles of feeling forgotten, rejected and lost. But for those who feel that grunge music does not fit in with their technology filled life, they may want to create a grunge song that covers a topic they feel creates negative feelings for them. So to get into the proper mindset to write this song, one must dig deep into the recesses of his or her feelings of teen angst to dig out some sort of darker emotions. May I suggest a YouTube video of a pug who can’t roll over, not having enough phone data, or trying to watch the finale of your favorite show but the Wi-Fi keeps buffering the video? Think of something that is basically insignificant to the rest of the world and only really matters to you. A bad selfie would qualify as a good one also but may need to be prefaced that it was posted to social media and your crush may see it. Horrifying I know! Once you have found the feelings you would like to express in your song, start thinking of how you would like to portray those emotions and what you would like the overall sound to be. These feelings will be the base of your song and all of your further decisions will be based on the mood created by these emotions. I have personally dug out from the recesses of my long-buried teen nerdy angst the feeling of anxiety and sorrow when my code wouldn’t compile. <br><br />
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== Emotion and Harmony ==<br />
Your next step is choosing how you would like to portray that to your listeners. I would do this by making it sound like the world will end if the code doesn’t work and that all will be lost. Don’t be afraid to be over dramatic. That’s what attracts people to the music is the drama and emotion. Right? Now that that has been cleared up, the actual song can now be written. One must start with the most crucial part first, the harmony. When done right, the harmony helps to create the emotion of the music. In grunge, musicians experimented with a variety of different techniques and ideas. They wanted to step out of the norm of alternative music. So, they experimented the chords of the music and found that when they distort the note a great deal it produces a much richer sound that reaches higher. Therefore, much of grunge music is written in 3 note chords which stem from a key signature. So, the first part of creating your harmony is deciding what key you would like your song, which you could do by picking you favorite note. I will be arbitrarily picking the key of F major. If you have a favorite key pick that one; it will make it more personal to you. Next, for choosing your chord progressions pick whatever sounds good together. Also, make sure to have at least one modulation of a note in there. It is a grunge classic and a must if you want your song to be grunge. This will create the dissonance you are looking for and will add to any emotion ranging from hatred to anxiety. Wow look at that, after playing with chords for a few hours, you will be able to get some chord progressions that you like. At this stage, you will also have to decide what instruments you would like to use. You honestly can’t go wrong with the grunge classic of guitar, bass guitar and drum set. If you are feeling fancy you could add another instrument to complement your theme and mood.<br><br />
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== Final Steps ==<br />
After your harmony is all figured out, which will probably take a while, you will need to figure out your rhythm. The rhythm as stated before is really based on the emotion of the song so you’re going to need to play around with the speeds until you feel it has reached the right mood to represent the emotions you are trying to portray. Many grunge pieces have a range from 90-120 (bpm), but feel free to choose one that best suits the song. Dynamics is another important part of the piece do to that fact it determines what sections are loud and what sections are softer. Many times gunge utilized dynamics to create a call and response type of sound in the song. It also had the power to create tension in a song so it may work for your song if that is what you are striving for. One may also put accents on different parts of the song where you want to highlight a lyrics. The last thing you’ll need is the form of the song or how it the song is constructed both lyrically and musically. It is all about the repetition of the song of the chorus and its verses. The classic rock and grunge form of the 1990s was the verse-chorus form that focused its attention to the chorus. This is a really nice form for if you are highlighting your chorus. Though all grunge songs did not use this form, they also achieved their aesthetic by used other forms. So feel free to look into other forms that may make your song more grunge. The last requirement to writing a grunge song is lyrics! All grunge songs contained lyrics that expressed their emotions, so make your lyrics emotional and full of angst. As a bonus, have your singer sing very muffled and with almost unintelligible manner. It seemed really popular with bands such as Nirvana and Radiohead. You can't really hear the lyrics but you still felt a deep emotional connection to them. Any of these steps can be done in any order, so maybe start with the harmony or lyrics and form. It's really up to you. Much of the genre was experimentation held together by angst and great chords. And there you have it! You have created the next “Smells Like Teen Spirit”. Now go out and share your amazing song with the world, brace the world for its awesomeness! <br />
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= Musical analysis of songs =<br />
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Taking what has been learned about harmony, rhythm, dynamics, and form and its importance to grunge music now lets look at some songs created in the "grunge" music style. Keep in mind that you're just taking a small slice of examples and that this table isn't all-encompassing. Also note that some of the harmony listed is a general overview of the keys/tonalities explored. Find out more about grunge music and its history [[Grunge in London|here]]. <br />
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{| class="wikitable" width="80%"<br />
|-<br />
! scope="row"| Grunge Music of the Late 1980's - Mid 1990's<br />
|-<br />
! Musical Elements <br />
! Heart Shaped Box <br />
! Black Hole Sun <br />
! Creep<br />
! Glycerine <br />
! Man in the Box<br />
|-<br />
! scope="row"| Artist <br />
| align="center"| Nirvana <br />
| align="center"| Soundgarden <br />
| align="center"| Radiohead<br />
| align="center"| Bush <br />
| align="center"| Alice in Chains <br />
|-<br />
! scope="row"| Rhythm<br />
| align="center"| <br />
* Time Signature: 4/4<br />
*Tempo: Moderately (108 - 120 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: 120 bpm<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: (90-93 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: Moderately (112-116 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: Moderately (107-109 bpm)<br />
|-<br />
! scope="row"| Harmony<br />
| align="center"| <br />
* Key: A minor<br />
*Major Chords: A5, F5, D5/ A, F5, D7<br />
*Chord Progressions: A5, F5, D5, A, D7<br />
| align="center"|<br />
* Key: F major<br />
*Major Chords: Gsus, G6, Bb6, F5, Em<br />
| align="center"|<br />
* Key: G major<br />
*Major Chords: G, B, C, Cm<br />
*Chord Progressions: G, B, C, Cm<br />
| align="center"|<br />
* Key: F major<br />
*Major Chords: F, C5, D5, Bb5<br />
*Chord Progressions: F, C5, D5, Bb5<br />
| align="center"|<br />
* Key: E minor <br />
* Major Chords: Em, E5, G, D, A<br />
*Chord Progressions: G5 G6 G5 G6 C E5<br />
|-<br />
! scope="row"| Dynamics <br />
| align="center"| <br />
*quite verse and roaring chorus <br />
| align="center"|<br />
*quite verse and roaring chorus <br />
| align="center"|<br />
*quite verse and roaring chorus <br />
*crescendo to chorus <br />
*decrescendo to verse <br />
| align="center"|<br />
*quite crescendo loud moderate level<br />
| align="center"|<br />
*moderate <br />
|-<br />
! scope="row"| Form <br />
| align="center"| <br />
*verse/chorus song form <br />
| align="center"|<br />
*verse/chorus song form <br />
| align="center"|<br />
*verse/chorus song form<br />
| align="center"|<br />
* verse/chorus/ bridge form <br />
| align="center"|<br />
*ABABB Form <br />
|- <br />
|}<br />
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=Conclusion=<br />
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In this project, I did an analysis of music theory from the point of view of grunge music. Music, in general, is so incredibly versatile with its ability to change one element to change the whole song and its intentions. All of the elements of music are important to delivering the music’s message. So I decided to look at grunge music though four of the elements of music to give an in-depth analysis on how these elements create the grunge sound. I also looked for ways the elements of music tied the whole genre together and gave it its particular sound. Grunge music was a unique genre that popped up as a sub-genera of alternative music, so I wanted to see what made it stand out from the rest. I determined that the genre itself was notable for its emotional connection to the music. The artists took advantage of rhythm, form, dynamics, and harmony to fit their feelings of depression, angst, and anger. Most notable they changed the way chords were heard by distorting the music’s sounds. It created a fuller sound and changed the chord progressions. They were very experimental and passionate about their music and led me to a “pattern” in their music, which was that it had to be full of emotion and it had to have distortion of chords that allowed them to modulate certain notes. I was then able to play off of this pattern to create a satirized guide to creating grunge music. In the future, I would like to see more research done on patterns in grunge music because this music created a generation and still inspires many today. <br />
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=External Links=<br />
[[Grunge in London| Grunge in London]]<br />
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=References=<br />
<br />
[[Category:Music Projects]]<br />
[[Category:2017]]<br />
<br><br></div>Kfconroyhttps://londonhuawiki.wpi.edu/index.php?title=User:Kfconroy&diff=18830User:Kfconroy2017-06-22T07:39:03Z<p>Kfconroy: /* Milestone 2 Theater in London */</p>
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<div>=Katharine Conroy=<br />
[[File: kat.jpg|x350px|right|frameless|thumb|Katharine Conroy]]<br><br />
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__TOC__<br />
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=Overview=<br />
The paragraph should give a three to five sentence abstract about your entire London HUA experience including 1) a summary of the aims of your project, 2) your prior experience with humanities and arts courses and disciplines, and 3) your major takeaways from the experience. <br />
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=Milestone 1 Music Theory behind Grunge Music=<br />
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'''Music Theory behind Grunge Music'''<br><br />
'''Objective:''' <br />
Analysis of the the key musical elements to Grunge music. <br />
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This project is meant to introduce those who enjoy music to the music theory or backbone of music that makes it sounds a certain way or gives it a certain emotion. Music is defined by its elements, which allows a certain genre of music sounds different than another. So, I distinguished four important elements of music and did an in-depth analysis of each with a comparison of grunge to popular rock music of that time. From that analysis, I then produced a guide to producing my own gunge song with examples of what I would do.<br />
In my research, I found that grunge was more covered as a social and ethical topic with little being covered about the music itself. It was difficult to find much on the elements of music in respect to the grunge genre itself, but I did find some info on it under the umbrella of alternative. I discovered that its sound and style was primarily based off of the music’s harmony with the rhythm, form, and dynamics still very important to its overall sound. But, there was no real pattern to the music. Together in had a unique sound due to the harmonic practices, but what really kept the genre a genre was the music’s attitude and the taboo topics it tried to address. Each artist has its own unique style and sound but they all fell into the same genre. This project needs more research to fully grasp the musical differences between grunge music and the popular rock of the time. <br />
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[[Music Theory behind Grunge Music|Read More]] <br />
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=Milestone 2 Theater in London=<br />
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'''Theater in London'''<br> <br />
'''Objective:'''<br />
Looking at the behind the scenes work that goes into a theater show. <br><br><br />
Have you ever wondered about the behind the scene magic that goes into creating a play or musical? There is a tremendous amount of work, blood, sweat, and tears that go into producing a show for the stage. It takes a village to put on a show of any magnitude. So for the Theater in London milestone, we focused on the behind the scene departments that make the show a success. The main departments that we felt were very important were scenic, props, lighting, hair and makeup, sound, costumes, and poster and promotion. Without any of these, the show would not be able to go on due to the fact that all of them are crucial to the visual effects of the show. We each specialized in specific departments to learn the history, techniques and uses in a show. After we understood the nuances of these departments, we then watched “The Play that Goes Wrong” at the Duchess Theater here in London to see how they utilized each department. From that, we took inspiration for our own interpretation of the play. We utilized what we learned and incorporated it into our designs for scenic, props, lighting, hair and makeup, sound, costumes, and poster and promotion. We learned a lot about our respective departments and there was a copious amount of information for many of the departments. However, some like props and poster and promotion were quite as well documented but we found more current day information on them. This milestone is a culmination of our passions for the theater. <br />
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[[Theater Beyond the Actors|Read More]] <br />
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=Milestone 3 Grunge Music in London=<br />
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'''Grunge Music in London'''<br><br />
'''Objective:''' A comparison of London and American grunge music that depicts the key differences and similarities.<br />
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This project is meant to be used as an introduction to the misunderstood genre of grunge, which dominated the music scene during the late 1980’s and early 1990’s. To help those unfamiliar with grunge music, I explored the genera and covered it in its entirety. This started with its birth in Seattle, Washington to its impact on society. In my research, I found that grunge music gained almost a cult following beginning in Seattle, Washington that it spread throughout the United States to many other places such as London, England. However, bands that appeared out of the grunge movement from London did not make it as big in London as they did in the United States. United States grunge bands became more popular than their British counterparts. In my research, I did an analysis of popular grunge songs from both the United States and the London area to create a short deconstructed “mixtape” with the purpose of introducing grunge music to a person who has never listened to the music before. I then described what makes these songs grunge and the reason I choose them. I concluded that grunge music was more of an American genera that spread like wildfire throughout the world, but it was influential to the bands of London also. This milestone is my music capstone and it is an analysis of an entire genre of music that took place in both the United States and London. <br />
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[[Grunge in London|Read More]] <br />
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=Activity Journal=<br />
The activity journal represents an ongoing log of reflections gained through each and every project activity on the calendar. <br />
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==Activity #1 Westminster Abbey and The Tower of London==<br />
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Today was the first official day of our time here in London! Still, a bit jet lagged, we started our time here at one of London’s most famous churches, [[Westminster Abbey| Westminster Abbey]] or the Collegiate Church of St. Peter at Westminster. Many know this location as the place where many royals have celebrations such as coronations and weddings. In my most recent memory, I remember all of the excitement when Prince William and Kate Middleton got married at that exact spot. So as I roamed the great size of the church, I looked at all of the magnificent details on all of the tombs, craving, and statuary. The stained glass was also breathtaking and detailed depicting many monarchs and religious figures. However, my favorite part of the Westminster Abbey was the [[Tomb of the Unknown Warrior| Tomb of the Unknown Warrior]]. It showed that no matter what class you were you would still be judged just the same under the eyes of God. <br />
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After the trip to Westminster Abbey, we went to see the [[Tower of London| Tower of London]]. It housed many precious items such as the Royal [[Crown Jewels| Crown Jewels]], the armory, and torture devices also known as instruments of persuasion. As I walked through the castle I realized how important their history and tradition was. The monarchy is very devout to their traditions with many dating back hundreds of years. An extension of this would be the Yeomen or Beefeaters, who can be seen safeguarding the crown jewels. Originally my original impression of the Beefeaters was that they were people who were dressed in traditional garb to simulate the past uniform style, but when I asked a lady from information, she informed me that they were highly trained ex-military. This was very surprising and added greatly to my experience. After the first day of actives in London, I was very exhausted but also still very excited to see what was in store for me in the upcoming weeks.<br />
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==Activity #2 St. Paul's Cathedral==<br />
Today we went to see the [[St. Paul's Cathedral | St. Paul's Cathedral ]], which is part of the Anglican faith. This cathedral was gorgeous with its murals, mosaics and baroque style. the baroque style was very unusual for an Anglican Church due to the fact that is was used frequently by the Roman Catholic church, which it split with when the pope denied King Henry the VIII a marriage annulment. <br />
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When I first walked in, I saw the huge baptismal font that is used during the christening of those seeking the faith. There were also wonderful icons of Jesus and Madonna and Child that I have only been able to see in textbooks or online. The Nave was filled with statues in memory of famous was generals.Then, once you are done gawking at the sight in front, you to gaze up at the ceiling and you realize the magnitude of the cathedral. The journey up to the [[St. Paul's Cathedral#Whispering Gallery|Whispering Gallery]] was very tedious up to those stairs but it was really cool to look down onto the ground below. However, I am terrified of heights so let’s just say the ceiling was very pretty from that height! Overall, I thought that it was some of the most impressive artwork I have ever seen. <br />
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==Activity #3 British Museum==<br />
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The journey we took today brought us to one of the first places we met our advisor during our first day out and about; the [[British Museum |British Museum]]. When walking past the museum, you can see its Greek architecture filled with columns and arches. The whole museum is decorated with ornate crown moldings and tray ceilings, which add to the openness of the rooms. However, unlike most of the sights seen so far, most of the exhibits are artifacts instead of a places to explore. It very much felt like the MET with all of the exhibits emphasizing different times in history and all that they had to offer. <br />
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My favorite exhibit of the museum was the one featuring the [[British Museum#Mesopotamia|Mesopotamia]] region. This exhibit brought me back to sixth grade when I first learned about this region. I saw many tablets with writing in cuneiform, which I remember learning as a kid. It was really cool to see new and different artifacts there. I even got to see the Rosetta Stone, which I remember being a huge deal because it was used to decode other ancient languages. There were also some elements of the museum that kind of had something to do with my theatre milestone, due to the fact that there were ancient artifacts such as masques. This showed the early roots of both theater, where masks were often used to depict characters. Overall I really enjoyed the museum because it brought me back to a wonderful time of my life.<br />
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==Activity #4 Natural History Museum==<br />
I was very excited about going to the [[Natural History Museum| Natural History Museum]]! I absolutely adore going to these types of museums due to the fact that they contain a myriad of exhibits with different exhibitions. The exterior and interior of the building is filled with a mix of roman and gothic architecture, which gave the area a feeling of openness and spaciousness. <br />
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When walking in, I immediately thought about my favorite museum The American Museum of Natural History in New York City. I sent a lot of my childhood and teen life exploring the place I called home. There was always something new and cool to see and it had my favorite prehistoric friends the dinosaurs too. So on arrival, I expedited my way to the dinosaurs and more specifically the [[Natural History Museum#Prehistoric Sea Dinosaurs|prehistoric sea dinosaurs]]. They had a huge collection of [[Natural History Museum #Pliosaurs (Rhomaleosaurus cramptoni)|pliosaurs]] fossils and some ichthyosaurus too. It honestly reminded me of the movie Land Before Time: Journey to Big Water. They also had a animatronic T-Rex which I found really amazing! But in comparison to the American Museum of Natural History, I feel it does not have as many really big dinosaurs (though I may just be biased). <br />
Pertaining to my project, I did see a picture of the Nirvana cover Nevermind, which shows the impact that grunge music had on London culture. Overall, found the museum very different then I originally thought. It focused mainly on a lot of different animals, reptiles, and geological topics, which made this a unique experience.<br />
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==Activity #4 National Gallery and Lunchtime concert==<br />
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Today, I saw [[The National Gallery| The National Gallery]] and it was really disappointing due to the fact that my favorite artist, Monet and all of the Impressionists, were closed today. I really enjoy the impressionists because of the way they see the world. In their works of art, they provide nature and people in their everyday lives. They are not staged and contained many colors and movements. Another artist I was looking forward to was [[The National Gallery# Johannes Vermeer| Johannes Vermeer]], but they only had one of the three paintings available. I remember reading a book in second grade called Chasing Vermeer, so I was really interested in seeing a few of his paintings, but the one that was there was very intricately painted and contained a lot of symbolism. <br />
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We also saw a concert at the [[St Martin-in-the-Feilds|St Martins of the Feilds]], which was really awesome. The concert was played by Nikolay Ponomarev who played the piano. I personally really enjoy listening to music and differentiating the styles of composers, so I was excited by the list of songs on the program. The Transcendental Etude No. 10 in F Minor by Franz Liszt had a very heavy and somber sound to it while as Etude No 10, Op25 in B minor by Chopin has more of a light and airy texture to it. It reminded me of sitting in my music history class in high school and the analysis of these songs to understand where the composer was trying to communicate. <br />
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==Activity #5 Lunchtime concert==<br />
We went to see another concert at [[St Martin-in-the-Feilds|St Martins of the Feilds]], which had a duet between both a saxophonist and pianist. At first glance that combination of instruments sounds pretty interesting, but the way the pieces were written they complemented each other quite well. The pianist was a young woman named Christine Zerafa and young man on the sax was Philip Attard. They were both highly accomplished players representing the Royal Over-Seas League. I really enjoyed Saint Saëns's Sonata Op 166 it was very relaxing and worked very well together but i really disliked Edison Denisov's Sonata for saxophone and piano because they attempted to mimic each other's notes and it sounded quite disjointed. Overall there were some parts i enjoyed and some I did not.<br />
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==Activity #6 Tate Britain==<br />
After a nice and relaxing day of working on my milestones at the British Library, I jumped back into the museum journey. Unfortunately, I feel the strong need to keep continuing on with the milestones since I am progressing very well. So we went to the [[Tate Britain| Tate Britain]] and the time period paintings from the 1500’s to the late 1800s were a lot of portraits of military, literary, and royal figures. But after that time period, many pictures contained that of which involved social movements. There was one piece in particular that covered the grunge movement which was a confusing flow diagram called “The History of the World” by Jeremy Deller that distinguishes one's problems covered by bass bands and an acid house. It highlighted the social and political issues that were dealt with during the Grunge era. I also got to see the newest commission at the museum called [[Tate Britain # Forms in Space…by Light (in Time)| Forms in Space…by Light (in Time)]] by [[Tate Britain # Cerith Wyn Evans| Cerith Wyn Evans]]. It was an interesting piece that utilized light as that medium and space as a canvas. Overall I am pretty museum out and really would not like to look at another aristocrat portrait for a while.<br />
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After going to the Tate Britain, a group of us decided to go see David Tennant in ''Don Juan in SoHo''. It was in a smaller theater that has a classic proscenium theater, which created an intimate feeling even with standing room "seats". The show was a modern take on the classic Don Juan and it was definitely very modern. During intermission, we took a look at the projection systems and lighting and determined that they used S4's with less dispersion do to the fact it was such a small stage. Also we determined that the amazing projection was done by three offstage projectors and an unknown number of projectors onstage. It was amazing to be able to reason through all of design and technical features. <br />
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==Activity #7 Victoria and Albert Museum==<br />
Today we took a trip to the beautiful South Kensington area to visit the [[Victoria and Albert Museum | Victoria and Albert Museum]]. My first impression of the building was that it is massive and very ornately decorated. In the lobby was an amazing blown glass structure that spanned many feet long. I really enjoyed the ornate [[Victoria and Albert Museum # Islamic Middle East| Islamic Middle Eastern]] artwork that ranged from tiles to silk and pottery. The calligraphy was so artfully done and was seen as a work of art due to its intricateness. I also saw an exhibit on theater and performance, which covered almost all of my milestone. I saw amazing diagrams of different set designs, costumes, books, and drawings that all pertain to the behind the scenes nature of my milestone. I only really concentrated on the parts of the museum that pertained to my project due to the fact that the museum is so large. <br />
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==Activity #8 Tate Modern==<br />
Today was a visit just over the bridge at the [[Tate Modern| Tate Modern]]. Unlike most of the other museums, the Tate modern had a very modern and architectural feel to it. It was not at all ornate and had many of the structural beams and hanging lights showing. Personally, I have a limited perspective on modern art. I usually cannot see the meaning in blank canvas or a random piece of wood that I can find in the woods. I have been known to make jeers at modern are also. This has been seen recently when I was doing a modern interpretation of an ice cream cone and correlating it to the coldness of society. However, surprisingly I did find some of the art absolutely breathtaking and full of meaning. I also feel that the backstory behind much of the artwork gives it more meaning. Some of the exhibits I did enjoy were [[Tate Modern #Abstraction and Society| Abstraction and Society]] and optical illusions. They Abstraction and Society display depicted social issues and problems through a different view that demands you full attention. All of those works relate to the grunge movement and how they decoded the problems with society in their lyrics. However even after going to many great parts of the museum I still felt that some pieces could be done by myself, one of little to no artistic talent. Overall, I feel that these museums are lovely and a great cultural experience, but I really need more time to research and write my milestones. I find it very difficult to go to the museum for half the day, write the journal and articles, and then go to the library to start working on the milestone at around 1 or 2 PM till 6 PM, eat dinner and work on it some more. I need more time to add more detail to my project. <br />
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==Activity #9 Museum of London==<br />
The [[Museum of London| Museum of London]] was much smaller than I anticipated. It had the history of London from the prehistoric times to present day. It did have a tiny section that talked about Shakespeare and other playwrights from London but did not talk about any of the technical aspects of theater. Otherwise, there was nothing else that covered my milestones. I did enjoy the part of the museum that covered Roman London because I enjoyed the versatility of the [[Museum of London#Amphitheater| amphitheater]]. It reminded me of the movie Gladiator with Russel Crow. I am ready for the weekend to continue working on my milestones. <br />
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==Activity #10 Imperial War Museum==<br />
Today we went to the [[Imperial War Museum| Imperial War Museum]], which was right across the Thames River. The museum was surrounded by a green a luscious park with many flowers and plants. In the front of the museum, is a walkway boarded by a lavender that leads up to two huge cannons. The design of the museum was also cool with large columns. The entry of the museum was an amazing sight with all of the different planes and such suspended in the air. I made me think of a museum near me called the Cradle of Aviation because of they also had suspended planes but they were about air travel. <br />
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While walking through the museum, I really enjoyed how they had each level dedicated to a different topic. A number of artifacts they had was amazing. I was really interested in WWII and loved how it was from the British point of view because I remember learning it from an American point of view. It also went chronologically with it ending in the war on terrorism and they had a piece of mangled metal from the Twin Towers, which was very sad because of the impact it had on the United States. I also found the exhibit about the Holocaust extremely haunting and sad. However, it was one of the most complete exhibits I have seen on the Holocaust. On the fifth floor (which was really really high), there was an exhibit on the bravery of those fighting in the British Army. It talked about many brave men and women such as [[Imperial War Museum#Joan Daphne Mary Pearson| Joan Daphne Mary Pearson]] and [[Imperial War Museum#Kamal Ram| Kamal Ram]], who risked their lives for the betterment of their country. <br />
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==Activity #11 Museum of London Docklands==<br />
Today we all woke up with the horrific news of the bombing in the Manchester Arena and it is so unnerving to know that no matter where you are in the world there will always be bad people in this world. The train ride was very quiet and somber. <br />
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The [[Museum of London Docklands| Museum of London Docklands]] is located a pretty far distance away and is like 4 too many miles to walk, but I really liked how it was on the “Isle of Dogs”. It’s such an interesting name! Anyways, like the [[Museum of London| Museum of London]], I found this museum catered to a younger crowd, like elementary school students. So a lot of the information was at an elementary level. There were many great parts of the museum that talked about its history, slavery and its rectification, and many maritime things. I really like how they incorporated the [[Canary Warf| Canary Warf]] into the museum’s history. The Canary Warf is so pretty and you can tell it would be an awesome to be on a Friday night.<br />
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==Activity #12 Horniman Museum==<br />
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Traveling even further than we did yesterday we are making our way to the [[Horniman Museum| Horniman Museum]]. It is way too far to walk, but it was only a train and bus ride away. A lot of these places required a decent amount of travel and I am pretty low on the oyster card, so I guess I am going to have to top up soon. However, the museum was in this suburban area and it was really nice to be out of the city. I grew up in suburbia so it was nice to not be so crowded with little store fronts and homes with back yards. Side note, I really like British expressions like top up and cheerio they are just really interesting terms. Now I digress to the actual museum experience.<br />
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So the museum itself is very pretty and is surrounded by luscious fields and [[Horniman Museum#The Gardens| Gardens]]. There were two main exhibits in the museum with one being about evolution and domestication. That part contained a lot of taxidermy animals, birds, and lizards, which was kind of sad because I saw some of my favorite animals stuffed. The next part was the collection of musical instruments. It was pretty cool to see all of the instruments from many different time periods. I also learned and saw instruments from the [[Music Exhibit at the Horniman Musuem#Seasonal Round: Haslemere Festival | Seasonal Round: Haslemere Festival]]. My favorite part was the Garden because they were so peaceful. <br />
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==Activity #13 Hampton Court Palace==<br />
To begin with I will be keeping this journal relatively shot due to time constraints of travel and other her. Today we visited the [[Hampton Court Palace| Hampton Court Palace]] in Zone 6 or better known as a place far far away. It was a really amazing place with a lot of history. I really liked how each in the entrance of the palace there was the coat of arms. I really didn’t get to go to many places but I did make my way to the playground, which was amazing. So my maturity level is at about the age of 2 and a half so I therefore had to go on it. It was awesome!<br />
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==Activity #14 The Wallace Collection==<br />
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Today, after a long and relaxing bank holiday weekend is a day that begins the milestone grind. I really enjoyed this weekend off from work to just explore and have fun. This week is really crunch time with only 3 weeks left and a lot of work left. At [[The Wallace Collection]] there were many paintings and such from the 18th and 19th centuries. It was a lot of amazing collection of artwork, statuary, and armory. I in particular really enjoyed the armory the most because I find the ancient weapons very fascinating. They had medieval swords with faded engravings and ornamental swords meant for display. The collection also housed a large amount of horse armor, which included a gothic piece from the 15th century. There was a lovely exhibit in the basement that allowed visitors to try on a chainmail headpiece and chest piece. They altogether weighed approximately 45 pounds and took a tremendous amount of effort to lift. It was really amazing to think that this place was once a home. <br />
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==Activity # Revisit a Relevant Site ==<br />
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So today was the day that I was supposed to revisit a relevant site, however none of the sights really had to do much to do with my niche topic of Grunge Music. So I decided to continue reading articles and writing my milestones to make more progress. I chose a topic that was not really ever explored in the museums that we visited because it also only happened in the last 30 years, which is why most of my research has been competed using online resources. I am making good progress and am working slowly but surely. <br />
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==Activity #15 London Science Museum ==<br />
The next adventure was to [[London Science Museum | London Science Museum]], which was in one of my favorite parts of London, Kensington. I really enjoyed this place due to the fact that it contained a lot of engineering related items and exhibits. Don’t get me wrong are great and all, however, it was nice to have the breath of fresh air while looking at engineering related exhibits. The night prior a group of us decided to go to the late night at the science museum where they were featuring robots or all shapes and sizes. It was amazing to see the huge array of robots taking over and a number of people interested in the event. They had so many cool exhibitions and I even got to create a robot head with LED lights for eyes. The museum itself contains so many different topics ranging from space to clocks to planes and much more. I found the [[London Science Museum#Wounded, Conflict, Casualties, and Care| Wounded, Conflict, Casualties, and Care]] exhibit very humbling and fascinating they talked about the treatment and how they would get help when injured. It makes me thankful that I am not in that potions and thank my lucky stars for the people who sacrificed their lives for our sakes. <br />
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==Activity #16 Romeo and Juliet==<br />
We went to see Romeo and Juliet at the Globe Theater. The ambiance was great except for the fact that it was cold and down pouring for the first half of the show. I mean like full on drenching type of rain. We were all cold and wet, but it was awesome to be right in front of the stage where the orchestra would be. I felt like I was at a rock concert awaiting a mosh pit. Anyway, when we read the description of the play we knew that this would be a very modern take on the show and that was only reaffirmed when we saw some of the actors getting ready with modern clothing and white face makeup. The show started out with actors dressed in very modern clothing dancing and speaking their lines to rap and hip-hop music, which was very interesting. They wore makeup that makes them look like clowns, which was, quite frankly, pretty scary. They also did some gender bending with Mercutio’s character. From a technical point of view, the lighting was very reliant on the on stage LEDS and S4’s. There were many lights being used as spots attached to the seating balconies and the sound was also attached there. The props were very simple and added to the idea of the play. I feel they did take the show to a very dark place, which is where it should be due to the fact that it is a tragedy. I really liked how the actors were not afraid to break character on stage and that could be seen when Mercutio tossed her beating stick and it flew off stage in the back through an open window. She asked if she could get it back and it didn’t come back so she went on and when it came back on stage she incorporated it into the scene. My one critique was that the actress that was playing Juliet was way too old (not being ageist at all), even with her makeup on you could tell that she was much older that the actor playing Romeo. She was supposed to be 14 in the show but you could tell she was around 40 and he was 25 or so. But even so, the show seemed to be one long drug induced trip. It was creepy and weird, but I really enjoyed it. <br><br />
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==Activity #17 Stonehedge==<br />
Our farthest trip as a group definitely has to do be our trip to Stonehenge. So Stonehenge is in the middle of nowhere right next to some pastoral fields with large burial mounds. Honestly, if you did not know that they were there you would definitely drive right past them without a second thought. From the road the stones seem pretty small and insignificant, but up close they were pretty large. It was interesting to learn that this rock formation was created thousands of years ago. It is thought to have been sacred grounds where religious practices occurred. The extremely heavy stones were thought to be brought from over 200 miles away without the wheel having been created yet. It is definitely was an amazing feat that is many thousands of years before its time. We then went to Bath, which is this amazing little town that has a hot spring. It was cute and quaint with a beautiful abbey. After Bath, we visited the location where they filmed some of Harry Potter. It was really cool and a very small village that had a small population. Overall it was an amazing trip with an amazing tour guide. <br />
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==Activity #18 Windsor Castle==<br />
[[Windsor Castle| Windsor Castle]] was pretty cool. It was composed of many different parts with it stretching more than 20 tennis courts long. When we first stepped in they did a full body and bag scan, it was like going through airport security. The security makes sense due to the fact that we are visiting the residence of the Queen. We visited the drawing rooms, dollhouse, and chapel, which were all meticulously done. They were all ornately decorated with eloquently carved crown molding, gold, crystal, and paintings. I keep a count of how many dogs I could spot in the picture and found 7. Overall, most of the residence was blocked off and it took a little less than an hour to complete. I did not think it was worth it because it took us two hours to get there and we only spent an hour there. Also, it cost us almost 20 pounds to do the trip. So if there was more to see and it cost less then I would feel that it would be worth the journey and money. <br />
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===My Complete Contributions===<br />
The journal section should end with the following link to your complete contributions (new articles, edited articles, added media, etc.)<br />
====[[Special:Contributions/Kfconroy|All of My Created Content and Edits]]====<br />
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[[Category:Profiles]]<br />
[[Category:2017]]<br />
[[Category:Advisor:Manzo]]</div>Kfconroyhttps://londonhuawiki.wpi.edu/index.php?title=Theater_Beyond_the_Actors&diff=18828Theater Beyond the Actors2017-06-22T07:35:06Z<p>Kfconroy: Created page with "=Theater in London= by Lauren Conroy<br>Justine Roy<br>Katharine Conroy<br> {{Infobox |title = Theater in London |bodystyle..."</p>
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<div>=Theater in London=<br />
by [[User:Lconroy|Lauren Conroy]]<br>[[User:Jaroy|Justine Roy]]<br>[[User:Kfconroy|Katharine Conroy]]<br><br />
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{{Infobox<br />
|title = Theater in London<br />
|bodystyle = width:25em<br />
|image = [[File:The Play That Goes Wrong- sm- JR.jpg|x450px|alt=Milestone Image]]<br />
|label1= The Play That Goes Wrong<br />
|data1= Duchess Theater <br />
}}<br />
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[[Category:Drama & Theater Projects]]<br />
[[Category: 2017]]<br />
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=Abstract=<br />
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This milestone looks at the elements that add to the success of a show, which includes scenic, props, lighting, sound, costumes, and poster & promotion. We explored what these elements were like in early theatrical performances in comparison to modern day performances. Some of our research came from attending several current plays in the West End as well as backstage tours of the [[National Theater]], [[The Globe Theater]], and the Royal Shakespeare Company. This information was implemented into our deliverable through our own technical design of the play, ''The Play That Goes Wrong'', which we attended on May 9th. <br />
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=Preface=<br />
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As a group, we had been very involved in theater at WPI. Two of our members were involved in a combination of acting, lighting, and scenic for the Showcase in D-Term. We had all taken various drama classes including, Theater Workshop and Introduction to Drama: Theatre on the Page and on the Stage and had been taught a lot about important dramas and what it takes to put on a show. We were excited to implement what we knew and what we would learn into our deliverable. <br />
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In order for any show to succeed, there must be a dedicated, creative, hardworking production team. This team has the capability of creating a show that can move the audience to laughter, tears or both. Every aspect of the production is important and the show would suffer if a portion was neglected. As a group, we discovered how much time and effort it takes to create a cohesive, successful play. Each department in the production team has to communicate with each other to assure that everything is consistent and does not clash with another department's design. Our main objective was to create a solid design for each department of the production team, specifically scenic, props, lighting, sound, costumes, and promotion. Based on our research, we were able to determine how to create our concepts using specific makeup, props, construction material and lighting fixtures. Our final designs embody all that we have learned through reading and watching "The Play that Goes Wrong" at the West End. <br />
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__TOC__<br />
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=Introduction=<br />
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Theater is one of the oldest art forms that expresses thoughts and ideas through visual entertainment and performative elements. It stretches back to the time of the Romans and ancient Greeks with traditions continuing into modern day. Performances at theaters can leave audiences crying, laughing, beguiled and awe-inspired, but it takes teams of area specialized people to make sure these productions are successful. Technical groups such as scenic, props, lighting, sound, costumes, and poster & promotion aid in the creation of setting the perfect atmosphere for actors and actresses to deliver their lines and move audiences. These groups are the unsung heroes of what makes theater so spectacular.<br />
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The goal for this milestone is to create our own technical designs for ''The Play that Goes Wrong'' utilizing the information we learned from the background and by seeing the show. Each of us put our own spin on the scenic, props, lighting, sound, costumes, and promotion of the play. For each section, we have some type of physical diagram or photograph displaying what we would have done if we were put in charge of each technical department of the show. The results and a statement of why we chose to design our set, props, lighting, sound, costumes, or promotional item the way we did are placed in the deliverable section.<br />
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=Section 1: Background=<br />
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When people go to watch a show, they may think of the amazing acting and/or singing that is taking place. They ooh and aah at the magnificent story told by these actors and actresses, but little do they think of the unsung heroes behind the scenes who work tirelessly to make the characters look and perform the way they do on stage. There is much more to a show than just the actors. Behind the actors, there is a huge line of support crew contributing to every aspect of the show beyond the performers who, without them, the show would not be able to go on. These people belong to the groups of scenic, props, lighting, sound, costumes, and promotional aid. Below is an in-depth analysis of these technical groups that make shows come alive. <br />
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==Scenic==<br />
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The set is affected by a number of factors including theater style, the plot, the setting, the tone, the budget and the designer's imagination. <br />
===History & Techniques===<br />
Going all the way back to the ancient Greeks, their set was just a backdrop. It was designed to provide context for the show and give a place for the actors to hide offstage. In their later years, the backdrop developed to have doors for the actors to enter and exit. The Romans adopted the Greek style and not much changed for the Renaissance and Commedia Del'Arte eras. (Carver, 2009, p 4-11) Between the 16th and 19th centuries, set designs continued to develop. During this time, the wing and drop style came into being. Wings refer to the extension of the backdrop downstage on either side. These were also called legs. Above the stage, a border was added to round out the set. These changes had the added benefit of hiding the inner workings of the theater. Another popular style to emerge was the use of Periaktoi. Periaktoi were three-sided columns that would be arranged side by side. The backdrop would be divided into columns and put on one side of each Periaktoi. The Periaktoi could then be turned, sometimes with the use of a pulley system, to reveal a given backdrop. Flying effects also developed. A platform that was attached to a vertical track could be raised and lowered with pulleys. In an effort to disguise the system, a two-dimensional cloud would mask the platform. Trolley systems for moving set pieces also developed. The pieces would be attached to tracks under the stage that would be pulled along their path using ropes and a crank. This is also the time that the iconic trap door came into being. The door in the floor would open and actors could enter or exit via ladders or primitive elevator systems. The 18th century brought technology advances that enabled quicker transitions and a desire for more realism. This desire for a more realistic experience led to the box set. The box set typically is comprised of three walls, a ceiling, and a scenic ground row. Previous stages were made at an incline to aid in visibility and acoustics with the back of the stage at a higher elevation than the front. This was done away with in order to make the set appear more natural. The box set also led to the convention of the fourth wall. This division between the performance and the audience was furthered by masking the stage from the audience before the show with a curtain. While flying was phased out of style because it was unrealistic, casters (the wheels seen on shopping carts) became the primary means for moving scenery. The revolving stage also grew in popularity as it enabled quick scene changes. The set would be constructed on a platform, built as part of the stage, that could spin. The platform with the scenery would then spin to reveal new sets. (Carver, 2009, 194-196) All of this technology is the basis for current scenic design. While technology has advanced greatly since those time, many of the concepts are still used today. <ref>Carver, Rita Kogler. Stagecraft Fundamentals. 1st ed. Boston: Focal, 2009. Print.</ref><br />
<gallery mode="packed" heights=300p caption="Periaktoi"><br />
Image:Beach Periaktoi- sm- JR.JPG<br />
Image:Periaktoi Transition- sm- JR.JPG<br />
Image:Forrest Periaktoi- sm- JR.JPG<br />
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===Design Considerations===<br />
As I said previously, there are many factors that go into the set design. Clearly, there are many options available to scenic designers and they must choose those that best achieve their creative image within their constraints. Depending on the venue and the show, the budget can vary greatly. Broadway and West End shows have massive budgets that allow for costly effects. These shows can showcase expensive effects such as pyrotechnics and trap doors. On the other hand, the local theater will have a much smaller budget and will have to keep the set simpler or get quite creative with the resources they have. Another important factor is the style of theater. Most people are accustomed to the proscenium theater where all of the action takes place behind the proscenium arch. With a proscenium stage, the designer only needs to worry about the audience on one side of the stage and what can be seen at different angles to the stage. However, thrust stages that have the audience on three sides, arena stages with the audience on all sides and black box theaters that can have the audience theoretically anywhere require more careful consideration. It is easy to block the view for parts of the audience due to large scenic pieces. While a couch may be a useful place to sit, this could result in blocking the view for those situated behind or to the side of it if it is not carefully considered. Spectators' view should never be compromised unless for very good reason as every person is paying to see the show and should have a good experience. In addition, limited backstage space as a result of the style of the stage could limit set changes. (Carver, 2009, p 14-19) Naturally, the tone, setting, and plot of the show all contribute to the designer's vision for the set. The set must reflect the environment the show takes place in, be a functional space for the actors to work in and contribute to the feel of the show.<ref>Carver, Rita Kogler. Stagecraft Fundamentals. 1st ed. Boston: Focal, 2009. Print.</ref><br />
<gallery mode="packed" heights=150p><br />
Image:Proscenium- sm.jpg|Proscenium Stage<ref>By User:FA2010 (Own work) [Public domain], via Wikimedia Commons</ref><br />
Image:Thrust-sm.JPG|Thrust Stage<ref>By Wharton Center (Own work) [CC BY-SA 3.0 (http://creativecommons.org/licenses/by-sa/3.0)], via Wikimedia Commons</ref><br />
Image:Arena- sm.jpg|Arena<ref>By Savino Paolella [CC BY 2.0 (http://creativecommons.org/licenses/by/2.0)], via Wikimedia Commons</ref><br />
Image:Black Box.jpg|Black Box Theater<ref>See page for author [CC BY-SA 3.0 (http://creativecommons.org/licenses/by-sa/3.0)], via Wikimedia Commons</ref><br />
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===Design===<br />
While there is no mandatory process for set design, it typically includes many sketches and models of the design. This is important so the set designer can effectively communicate their vision for the set with the director and other departments to create a cohesive image. Early stages of design might be represented through sketches then renderings. As the design develops, a scale model of the set on the stage will be created. This allows for people to get a good idea of the space there is to work with. Audience views, lighting and functionality can be tested. Once the design is finalized, technical drawings will be sent out to the fabrication shops for it to be constructed. (Carver, 2009, p 197-205) When designing the set, not only are there the previously mentioned techniques and considerations for the designer to keep in mind, there are also artistic considerations. The first thing a designer might do is research the setting of the show. For example, if the show is set in the past, then the designer will want to capture the architecture of the time. Once they develop an idea of what the set should convey and the elements that it should contain, the designer must decide how to put it all together. In part, this may come from how an actor is supposed to move through the space. If the set is a house that the character walks through then it might be necessary that the kitchen and living room are located next to each other. However, much will be left to the designer's discretion. One rule of thumb is the rule of thirds. Imagine that the scene is divided into a three by three grid. Positioning focal points along the two imaginary horizontal and vertical lines creates an image that is supposed to be more visually appealing. It is typical for a person to just focus on the center of what they see. By creating the other focal points, it draws the viewer's attention to more of the scene and makes the image more interesting. Set design calls on many more features seen in art. Line style, color, texture, line weight, shape, pattern, scale, and shades should all be taken into account. Cool colors create a sad or mellow tone whereas warm colors are happier and more energetic. Straight lines can be harsh while curved lines are typically soothing. Bright colors indicate a happy mode while dark colors can be upsetting and mysterious. (Carver, 2009, p 33-73) Therefore, set design is a process of considering a variety of elements and determining the best way to combine them to achieve the desired effect. There is no one correct design.<br />
<ref>Carver, Rita Kogler. Stagecraft Fundamentals. 1st ed. Boston: Focal, 2009. Print.</ref><br />
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===Fabrication===<br />
Designing the set is still only just the beginning. Once the technical drawings are handed over, the set still needs to be created and there are a variety of ways to achieve this. Sometimes the drawings will specify details such as materials. Often times it is the decision of those making the set. Most of the time the set is not made of what the audience would expect. Large marble and brick structures could be painted wood. Stone or metal statues could be carved from foam. In the world of theater, nothing is as it seems. This is where the artistic skill of those creating the set comes in. A common set piece is the flat. A flat is essentially a painted piece of plywood or some other composite board. When painted correctly, the flat could appear to be much more than it is. Scenic artists have developed techniques for convincingly painting the appearance of different surfaces onto flats, backdrops and other scenic pieces. Marble is created by painting several layers of paint, according to certain complimentary color schemes, and swirling the paints. Brick is also achieved by layering paint. Often times clay or other mediums can be used to add texture beyond what painting can provide. This part of the process has endless possibilities. If an artist has a vision, they are sure to find some creative method of fulfilling it. (Carver, 2009, p 205-244)<br />
<ref>Carver, Rita Kogler. Stagecraft Fundamentals. 1st ed. Boston: Focal, 2009. Print.</ref><br />
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===Current Examples===<br />
National Theater's [[National Theater#Theater Space#Olivier Theater|Olivier Theater]] is set up for advanced scenic techniques and designs. The fly is 30 meters high and automated enabling quick and smooth set transitions. It has enough power to lift a double decker bus enabling them to store large scenic elements. The most notable technology they have is the drum under the stage. The drum spins enabling a rotating stage. In addition, it is split into two halves with each half being a stage lift. In the past, these lifts have been used to reveal the cross section of a ship in a production of "Treasure Island". The recent production of "Twelfth Night" made good use of the technology available. The set featured a revolving stage. There was a wedge that could rotate and split apart into different slices that would reveal the various sets. The revolving motion was also used to indicate motion and travel. For example, as the actors drove off stage at the end of the first scene, the stage also spun giving the cars more distance to travel as well as transforming the set. In addition, there were two trap doors used to reveal a hot tub and a fountain. A revolving stage was also used in the performances of "Harry Potter and the Cursed Child" at the Palace Theater. The effect was not as dramatic as in "Twelfth Night" where the entire set rotated. Instead, the revolving stage was used to create motion. Specific scenic elements were able to wobble back and forth or spin. For example, Hogwarts' moving stairs were able to spin to mimic their movement. Sometimes the stage would rotate to counter the movement of a character enabling them to walk further than they actually had. Other times characters would be moved without them walking. The set itself was simplistic in comparison to the spinning set seen at the National Theater. There was a backdrop and flats along each of the wings. These flats were on some sort of carriage system that enabled them to be slid side to side. This came in handy when the stage had to be transformed into the Forbidden Forrest. The flats were able to be slid into the stage space to create the trees. The set of "Don Juan in Soho" at the Wyndham's Theater was also notable. While much of it was created through the use of furniture and projections, the set underwent a radical change at the end of the show. The entire stage space was transformed when the sides of the stage swung outward. This created a wider image. The ceiling then tilted down towards the back of the stage which heightened the effect of the widening of the stage while focusing attention towards the back of the stage where actors were. The [[Royal Opera House]] also has a unique system for managing their set. They have a wagon system designed by Rolls Royce. When sets are delivered to the theater, they are stored in a conveyor system. When they are needed, the stage and set are placed on wagons that can slide into a spot on the permanent stage and be lowered hydraulically into place. This enables them to completely switch between the sets for two different shows in just twenty minutes. Furthermore, the Royal Opera House makes the entirety of their sets off-site in Thurrock. In contrast, National Theater makes roughly 60-80% of their sets. Their set building process takes place over just six to eight weeks. Parts will be constructed from scratch or bought and modified if it proves more economic and efficient. One trick they use when creating intricate or heavy set pieces is to use foam. For example, decorative molding that would take a long time to carve out was created by making a mold and filling it with expanding foam. The foam was then painted gold and appeared as if it was authentic. Unfortunately, despite all the work that goes into these sets, they cannot be reused due to the copyright on them. After the run of a production, they are put in storage until they are eventually recycled.<br />
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==Props==<br />
Props, simply put, are pieces of property of the theater company that enhances the set and story. It comes as no surprise that "prop" is just the shortening of property. Props range from elaborate falling chandeliers to plain coffee cups. It is an umbrella term for anything that is portable on stage and does not fall into any other category. Ironically, food and drink consumed on stage fall under the category of a prop. They are used to enhance the plot and characters or the show. Props have been used since the beginning of theater, most notably in Greek and Roman use of masks (Bieber, 1961, p.) <ref> Bieber, M. (1961). The history of the Greek and Roman theater: 2d ed., rev. and enl. Princeton, NJ: Princeton University Press. </ref> However, there is not a lot of history on props as they are often less memorable than a costume or wig, despite that many times they are the height of the tension or excitement in a show. Andrew Sofer demonstrates this best with the use of a prop gun as the medium of drama for a show’s plot. He uses the example of Henrik Ibsen’s “Hedda Gabler” to show the double meaning between killing time and how Hedda must kill herself to end time (Sofer, 2003 p. 167- 203). <ref> Sofer, A. (2003). The stage life of props. Ann Arbor, MI: Univ. of Michigan Press. </ref> He does an in-depth analysis of the symbolism of gun usage in different shows to kill not only one’s self but also all that it represented. One can see that props have a special place on a show’s stage and are necessary to communicate ideas important to the plot. <br />
<gallery mode="packed"><br />
Image:figs-1620590_640.jpg|''Edible Props''<br />
Image: burning-money-2113914_640.jpg|''Flammable Prop''<br />
Image: glasses-543117_640.jpg|''Glasses''<br />
</gallery><br />
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==Lighting==<br />
===The Early History of Lighting in Theaters===<br />
The theaters of the ancient Greeks were always open and performances always took place during the day. They based the start time of the show on the position of the sun in the sky. That way, if darkness was needed, they would have the night sky. In Shakespeare’s time, theaters were moved indoors, so the candles were needed for lighting. The first type of candles used was called footlights because they were located near the actors’ feet. Traditionally, these lights were located on the downstage edge and apron of the stage. Eventually, just putting candles at the edge of the stage would no longer suffice as more control over lighting was desired. It was then discovered that putting a reflective surface behind the candle, between the audience and the actor, would intensify the light. To change the color of the lights, colored liquid would be placed between the footlight and actors. Gas became popular in the late 1700’s and the early 1800’s when it began to be pumped into buildings for lighting. This lead to the invention of the limelight. This device is created by directing a gas flame at a cylinder of calcium oxide. This invention was first used in London at the Covent Garden Theater. In the 1850’s, Joseph Swan, an English physicist, and chemist began working on a light bulb using carbonized paper filament in an evacuated glass bulb. This lightbulb had a low resistance and was not ideal for use in theater. Thomas Edison improved on Swan's design and created a high resistance lamp in a very high vacuum which could burn for hundreds of hours. The fluorescent lamp was created a little after the development of original light bulb. This is a gas-discharge lamp using electricity to excite mercury vapor. The excited mercury vapor produces a short-wave ultraviolet light that causes a phosphor to fluoresce, producing a visible light. Halogen lights are incandescent lights that use a tungsten filament sealed into a compact, transparent, quartz envelope. The envelope is filled with an inert gas and a small amount of halogen, which increases the life of the bulb. (Carver 270-279)<br />
===Conventional Fixtures===<br />
Conventional fixtures are non-moving lights usually hung off of a truss and batons. They are flown in and out to focus the lights on the stage so that performers and items can be spotlighted. <br><br />
All conventional fixtures have a lens, yoke, lamp housing, power cable, accessory holder, and a pipe clamp. At the front of each fixture is the accessory holder for gel frames and directly behind that is the lens holder. There are different types of lenses such as VSNP (very narrow spot), NSP (narrow spot), MFL (Medium Flood), and WFL (Wide Flood), which do as their names suggest. In the middle of a fixture is the yoke. This is used to angle the fixture to focus the light. At the end of the fixture are the lamp housing and the power cable. The housing allows you to change the lamp when it goes out. The cable allows you to connect the fixture to power. Some can even come with LED lamps. (Carver 280)<br />
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====Beam Projector====<br />
{{Infobox<br />
|bodystyle = width:25em<br />
|image = [[File:Beam.JPG|110px|alt=Image ]]<br />
|label2 = '''Description'''<br />
|data2 = Beam Projector Effect (WIKI Commons)<br />
}} <br />
This fixture has an open face and produces a narrow beam of light by using two reflectors. The primary reflector is located in the back of the fixture and is a flat parabolic reflector. In the front of the lamp is the secondary reflector which is spherical and reflects the light from the lamp. Towards the back is the parabolic reflector. The parabolic reflector collects the light from the lamp into intense parallel beams of light. (Carver 280)<br />
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====Scoop==== <br />
{{Infobox<br />
|bodystyle = width:25em<br />
|image = [[File:Scoop.jpg|130px|alt=Image ]]<br />
|label2 = '''Description'''<br />
|data2 = Scoop Fixture (WIKI Commons)<br />
}} <br />
These fixtures are open-faced units that have no lens. The housing for the light itself is ellipsoidal in shape and the inside of a scoop is painted white to reflect the light forward. There are few possibilities when focusing these lights because they can only pan or tilt. Some may joke that one may cook their act if they solely use these lights to light the stage. Scoops come in several sizes from 10 inches to 18 inches. (Carver 280-281)<br />
====Fresnel====<br />
{{Infobox<br />
|bodystyle = width:25em<br />
|image = [[File:Fresnel.JPG||140px|alt=Image ]]<br />
|label2 = '''Description'''<br />
|data2 = Fresnel Fixture (WIKI Commons)<br />
}} <br />
These lights are versatile because they can be used as a stage wash or to focus on a single character. Fresnel lights are soft-edged and have spherical reflectors in the back with sliders attached to the bottom to allow for easy focus. By adjusting the slider forward and backward the relationship of the reflector and the lamp to the lens is changed. Fresnels come in a wide range of sizes from 3 inches to 24 inches and are arguably one of the most used conventional fixtures. (Carver 281)<br />
====Source 4====<br />
{{Infobox<br />
|bodystyle = width:25em<br />
|image = [[File:S4.jpg|150px|alt=Image ]]<br />
|label2 = '''Description'''<br />
|data2 = Source 4 Fixture (WIKI Commons)<br />
}} <br />
The original name for this fixture is the ellipsoidal reflector spotlight or ERS. Many people also refer to it as a leko light, while some others call it a Source 4 because the is the most popular fixture from the ETC company. The Source 4 has an ellipsoid reflector and two lenses. This means the user can change the focus of the beam by changing the distance between the two lenses. Depending on the focus, the user can get a harder edge or softer edge. It is the most flexible and most used fixture in the industry. They also have rotational or stationary shutter barrels. By pushing the shutter into the fixture, the user can mask a portion of the light that comes through the fixture. The rotational shutter barrels allow users to shutter abnormal light angles. Exchangeable lens tubes that come in: 5°, 10°, 14°, 19°, 26°, 36°, 50°, 70°, and 90° can also be purchased. (Carver 281)<br />
====PAR====<br />
{{Infobox<br />
|bodystyle = width:25em<br />
|image = [[File:Para.jpg|150px|alt=Image ]]<br />
|label2 = '''Description'''<br />
|data2 = PAR Fixture (WIKI Commons)<br />
}} <br />
PAR is actually the name of the lamp that is in the fixture. It stands for parabolic aluminized reflector. The lamp and the reflector are sealed together with a lens which is then inserted into the back of a tube, or “can”, to help shape the beam of the light. Note: Some people call these fixtures PAR CAN. This fixture and the Source 4s are the two fixtures that use different lenses such as the VSNP, NSP, MFL, and WFL. Most PAR beams have an oval shape that can rotate to change the direction of each beam’s axis. Some of the newer versions allow you to separate the lamp from the lens, making them very similar to scoops. (Carver 281-282)<br />
====Strip Lights==== <br />
{{Infobox<br />
|bodystyle = width:25em<br />
|image = [[File:Strip.jpg|110px|alt=Image ]]<br />
|label2 = '''Description'''<br />
|data2 = Strip Light (WIKI Commons)<br />
}} <br />
These are large, bulky lights that usually remain in one place for multiple shows. They can have lights of multiple colors or just white lights. They are hung using C-clamps. Strip lights are used for general stage washes or to provide back lighting so the actors can see. (Carver 284)<br />
===Intelligent Fixtures===<br />
Intelligent fixtures are moving fixtures. They can also be hung off of a truss and batons or they can sit on stages and other flat surfaces. Their placement is important because they have a limited range of motion. Unlike conventional fixtures, intelligent fixtures require programming. They are addressed to the directory and is able to understand the user. They are more difficult to program than conventional lighting because they have more than one attribute per fixture that must be controlled. For concerts, these fixtures usually need a skilled live operator who knows what the performer is doing onstage and the cues for lighting changes. The most popular brand for these types of fixtures is Martin and the most popular fixtures are their MAC Auras, MAC 2000 profile/wash movie light and Seladore Desires.<br />
(Carver 285)<br />
===Controllers/Consoles===<br />
In order to raise and lower dimmable fixtures, users use control boxes called dimmers. Dimmer racks have patch bays where fixtures can be associated with a letter and a number to keep track of and control each light individually. A user may run DMX, digital multiplex, to run the lights off of a lighting console. <br><br />
Consoles take the patched lights and allow users to be able to control the lights as cues from shows. This process is tedious but adds so much depth. Imagine ''Defying Gravity'' without that beam of light that suddenly shows on Elphaba. The scene would have less impact without it. Cues are usually named after what scene and act they are in. Usually, a board operator is told when to play the cue by the stage manager via ClearComm. (Carver 288-289)<br />
===Accessories===<br />
GOBOs are different patterns that are cut out in metal and placed in a Source 4 using a GOBO holder. Shadows are cast by the GOBO to achieve the desired effect. Gels change the color of a light fixture without having to change the lamp bulb. They can be diffused with white and darkened with another color. A top hat helps reduce flare and cut out some excess light. Barn doors are placed in front of soft edge fixtures such as fresnels or PARs to block parts of light beams that spill into the border (Carver 289 291).<br />
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<br />
==Sound==<br />
===The Ancient Greeks===<br />
The Ancient Greeks are one of the first civilizations to create and build theaters for performances. Many theaters today use concepts and designs that were contrived by this group of people. The design of these theaters was quite simple, in fact, they were designed based on a circle. The diameter of a theater was often 80 feet in length, which is two times the size of most theaters today. In order for the sound of the actors to reach every one of the 12,000 people in the theater, the construction of the building had to be to specifically engineered for sound to travel up the stadium seating.<ref>Carver, Rita Kogler. Stagecraft Fundamentals Second Edition: A Guide And Reference For Theatrical Production. 2nd ed. Burlington, MA and Jordan Hill, Oxford, UK: Focal Press, 2012. Print.</ref> The first documented discussion of concerns about stadium acoustics versus view was brought about by the Roman Vitruvius in the first century BC. He presented the idea that a theater with acoustic dissonance, circumstance or resonance would be unsuitable for audiences and therefore actors. He proposed that careful attention must be made to the selection of the theater site and the type of performances that would occur there, whether they are acting or singing. It was Vitruvius who sparked the development of acoustics of Greek theaters, which spanned over two centuries.<br />
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{{Infobox<br />
|title = Sound Ray Paths<br />
|bodystyle = width:25em<br />
|image = [[File:Reflect.jpg|320px|alt=Image ]]<br />
|data2 = Figure 1 ''Auditorium Acoustics And Architectural Design'' by Michael Barron <br />
|label2= '''Description'''<br />
}} <br />
After an extensive trial-and-error process, the Greeks created a theater design that optimized the sound quality and volume for all members of the audience. Sound propagation in a Greek theater was essential to increase the volume. Every member of the audience would receive direct sound based on three reflections of sound; the reflection from the front of the horizontal orchestra, the reflection from the front chorus on the rear half of the orchestra, and the reflection for the actors on the raised stage.<br />
<br />
Figure 1 illustrates the previously described reflection sequence. The reflection from the orchestra carries speech 40% further than without the modification. Greek theaters have the distinct feature of a steep seating rake, around 20 to 34 degrees. Although this is not confirmed, there is no doubt that the higher angles of incidence to the audience seating have a profound effect on the sound quality for the audience. Though these modifications aided in the increased volume of the actors, there had to be silence from the surrounding area of the theater and the audience for unassisted speech to be audible. This is why many theaters were located in urban locations.<ref>Barron, Michael. Auditorium Acoustics And Architectural Design. 1st ed. London: Spon Press/Taylor & Francis, 2010. Print.</ref><br><br />
{{Infobox<br />
|title = Mask Filter<br />
|bodystyle = width:25em<br />
|image = [[File:Polar2.JPG|320px|left|alt=Image ]]<br />
|data2 = Figure 2 ''The sound effect of ancient Greek theatrical masks '' by Fotios Kontomichos, Charalampos Papadakos, Eleftheria Georganti, John N. Mourjopoulos and Thanos Vovolis<br />
|label2= '''Description'''<br />
}} <br />
The most notable theater for its location is the isolated site of Epidaurus, which accommodated around 14,000 people and dates from around 350 BC. In the second century, this theater was considered the most perfect of all the Greek theaters. Seats at this theater reached distances of 70 meters from the front of the stage. How could sound reach the entire audience? The two factors that amplified the sound were masks and the theater design. With a distance that far, the actors used masks to act as a microphone to spread the sound of the actor's voice further. The masks, themselves, were constructed from hardened liquid stone and varied in design aspects such as whether they had open ears or an open mouth. Modern engineers have replicated these masks by creating mannequins that resembled the mask form and produced the type of sound that had come from these actors. The measurements they took produced a set of h<sub>θi</sub>(n) of discrete time impulse responses measured for different angle intervals with the mask on the mannequin. From there, the group was able to determine the corresponding magnetite frequency responses. The final results indicated that mask has the properties of an angle-dependent acoustic filter and the acoustic radiation of the actor's voice was significantly enhanced for the off-axis scenarios. <br />
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Figure 2 is based on the measurements from the manikin and shows the polar patterns for the mask filter and the mask radiation for octave bands centered at 0.25,1,2,4 and 8 kHz.<br />
The acoustics of the theater of Epidaurus were flawlessly tuned for each performance. Any sound produced in the orchestra was reflected and scattered around the theater of the hard limestone surfaces and ultimately reached the audience's ears. The reflected energy reached the listeners with a very small delay of 40 milliseconds. At all positions of the theater the most significant frequencies of the male speech, with a pitch ranging from 125-140 Hz, first vocal harmonics, at 250-420 Hz, and formants, from 300 HZ to 3 KHz, were amplified while keeping the richness and color of each voice. Any sounds that were outside of those ranges were filtered out to avoid the early beginnings of feedback.<br />
In order to see the effects of theater's specific design and the use of the mask working together, engineers denoted h<sub>TIRθ<sub>jrj</sub></sub>(n) as the discrete-time impulse response of the "theater-filter" and measured it for azimuth angles θ<sub>j</sub> and distances of r<sub>j</sub>. This combined impulse response, CIR, was then denoted at h<sub>CIRθ<sub>ijrj</sub></sub>(n) The resulting formula is able to calculate the acoustic results in terms of gain.<br />
<ref>Kontomichos, Fotios et al. "The Sound Effect Of Ancient Greek Theatrical Masks". ICMC. Athens: N.p., 2014. Web. 6 June 2017.</ref><br />
[[File: Stage.JPG|x320px|left|thumb| Plane Measurement and Coordinates for Theater Source and Receiver Positions and Masks]]<br />
[[File: Mask.JPG|x320px|right|thumb| Schematic diagram ]]<br />
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===21st Century Sound Systems===<br />
{{Infobox<br />
|bodystyle = width:25em<br />
|image = [[File:Soundsystem.png|320px|alt=Image ]]<br />
|label2 = '''Description'''<br />
|data2 = Sound System Diagram (WIKI Commons)<br />
}} <br />
Since the time of the Greeks, technology has evolved and become more advanced. The invention of electricity has played a key role in increasing the volume and quality of the actor's vocals. Acoustics refers to the sound quality of a room in reference to the overall audio quality without any sound amplification devices such as microphones and speakers. When creating a theater, the ambient noise that is surrounding the building or room when there is no planned audio must be considered. The Greeks dealt with this by having their theaters located in the middle of nowhere, but in today’s times, that would be utterly useless and unfeasible. Who would want to go to a play or musical in the Sahara Desert? That is why today many theaters pad their walls and make sure the stage is covered by a sound-absorbing curtain, which also doubles as an object to hide the cast until ready. Modern actors may not have learned the proper way to project their voice so that the audience in the back can hear. Modern-day sound systems have let actors and actresses become more lenient with projecting their voices because, with the adjustment of a gain knob and the increase of a slider, their volume is magically louder. Along with the actors and actresses on stage, there are orchestra reinforcements to add to the mood of a performance. However, there is a delicate balance between the actors and actresses and the orchestra because louder does not mean better. It is important to know the difference between amplification and reinforcement or the show could go horribly wrong. Amplifying denotes that the volume of an actor, actress or instrumentalist is increasing. Reinforcement is all about moving sound to create the perfect environment which requires a subtle touch. Amplification is noticeable whereas reinforcement shouldn’t be. Today's sound engineer must also account for the sound of background noise created newer technologies such as HVAC systems<br> (Carver 364)<br />
====PA Systems or Sound Systems====<br />
For a basic sound system, there are three main areas: input, output, and processing. Inputs are quite simple. They are the microphones that are connected via wires or wirelessly to a mixing console. The mixing console takes those inputs and can make pre-amplification changes on the microphone level signals to line levels. The signal then goes through equalization. Different filters can be applied to each microphone. This is helpful for equalizing different voices such as a female voice versus a male voice. Low pass filters are used on male voices so that any noise that comes through the microphone outside of the specified frequency is negated. Similarly, a high pass filter is used for female vocals. Level control is then used to process the signal and send it to the output. The output of a console is an amplifier, most commonly a speaker. The speaker converts the signal that is received into sound waves that people can hear and hopefully enjoy. Sound equipment has many variations. Inputs can include microphones (wireless, lavier, wired, wireless mic packs), contact pickups, magnetic pickups, laser pickups and optical pickups. Signal processors can include reverberation, delays, and amplifiers. Outputs can be loudspeakers (subwoofers, woofers, midrange, and tweeters) and headphones. The most important part is choosing the right equipment for the right show and location as well as speaker placement. For example, subs and heavy bass would not typically be used for a ballet. (Carver 366-367)<br />
====Microphones====<br />
{{Infobox<br />
|bodystyle = width:25em<br />
|image = [[File:Mic.JPG|320px|alt=Image ]]<br />
|label2 = '''Description'''<br />
|data2 = Different Types of Mics (WIKI Commons)<br />
}} <br />
The most basic function of a microphone is to pick up the sound and convert that acoustic sound to electrical energy. There are two main groups of microphones, dynamics, and condensers. Dynamic microphones are versatile, reliable, durable and, most importantly, affordable. The SM57 and SM58 are able to handle anything that life throws at it. The SM58 is used widely as a microphone for vocalists and is most notably identified by its ball grille. The SM57 is more for instrumentalists and can have a windscreen for heavy wind or breathing. Both the SM58 and SM57 are very similar in design and range and can be used interchangeably. Condenser microphones are more likely to be seen in theaters because they have an extremely versatile range. These microphones are quite special because they need 48-volt phantom power. On most mixers, the sound person must switch on phantom power to the assigned microphone. There are various styles of microphones because a handheld mic may not appeal to everyone. A lav or lavalier mic is very small and can be placed on a person’s shirt or in a person’s wig/hairline. Contact pickups are similar to microphones and are attached to instruments to pick up the sound through its vibrations. Pressure-response microphones are also used for instruments. They are mounted on a flat surface with an attached plate that increases gain.<br />
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Impedance of a microphone refers to the amount of resistance a microphone has to an audio signal. The lower the impedance, the less issues a microphone may have when using a longer cable and dealing with noise interference. Typically a lower impedance means a better-quality microphone, therefore a perfect choice for theater.<br />
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Gain deals with the amplification of a microphone through a sound system. If set up properly, meaning the system, microphones, and speakers, gain can be maximized. Handheld microphones have more latitude when it comes to gain versus its wireless counterpart. However, as the technology has gotten better, lavalier microphones have gotten smaller and better, but at a very high financial cost. Lav mics can be seen almost everywhere such as in theaters and on television news shows. The loop is sized for the person’s ear and a piece of tape is placed on their cheekbone and behind their ear. The pack is the hidden in the shirt making sure the person has enough neck room to not pull the mic off. <br />
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Area micing is a technique used for large bands or choirs. An array of floor microphones is placed on the ground and the board operator increases or decreases the gain as needed. For this, it is better to use an odd number of microphones which will provide the most options of which microphones to use at any given time. (Carver 364-368)<br />
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====Mixing Consoles====<br />
{{Infobox<br />
|bodystyle = width:25em<br />
|image = [[File:Mix.jpg|320px|alt=Image ]]<br />
|label2 = '''Description'''<br />
|data2 = Digital Mixing Console (WIKI Commons)<br />
}} <br />
All consoles work on the same concept. They take inputs, process the signal via equalizing, delays and reverberation, and transfer the audio to outputs. Each console is different with a given number of inputs and outputs as well as limits to the types of adjustments one may make to the audio signal. There are two types of consoles, analog and digital. Analog boards come in a range of sizes. Examples include the Mackie 1402VLZ4 14-Channel Compact Mixer and the GL4000. The drawback of these boards is that there are no equalizers, delays, or special effects, which are available on digital boards. Digital boards are the newest in sound engineering technology and are continually being developed. Digital consoles can be more flexible. Some digital boards have mobile device applications that allow a person to control the board from the stage instead of from front of house making equalizing easier and faster. (Carver 370)<br />
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====Speakers and Headsets====<br />
There are four types of speakers: tweeters, midrange, woofers, and subwoofers. Tweeters are meant for producing sound in the high-frequency range. Midrange speakers are designed to reproduce sound at midrange frequencies. Woofers are for low frequencies and subwoofers are to produce sounds at very low frequencies. Subwoofers are usually the speakers that make the floor shake at a dance party. Line arrays are groups of speakers that are hung vertically or horizontally. They have a very narrow spread of sound per speaker. Wedges or monitors are used by most musicians and vocalists so they can hear themselves throughout the performance. Selected sounds are mixed through the soundboards and then output through each wedge. Positioning the speakers is key because some speakers only have 90-degree dispersion. <ref>Mellor, N. (2017). Speaker Off Axis: Dispersion Specifications and Off-Axis Response Plots - Acoustic Frontiers. Acoustic Frontiers. Retrieved 18 June 2017, from http://www.acousticfrontiers.com/dispersion-specifications-and-off-axis-response-plots/</ref>The best positioning for these speakers is in pairs facing the corners of the space diagonal to them. <br />
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Headsets are used for stage managers and other run crew to know what is going on. They allow communication between the groups. Different groups can be on different channels like handheld radios. Clear-com is the most popular and is easily setup using XLR to the control box. It comes in wired and wireless versions. (Carver 371-377)<br />
<ref>Carver, Rita Kogler. Stagecraft Fundamentals. 1st ed. Boston: Focal, 2009. Print.</ref><br />
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==Costumes==<br />
=== History and Method ===<br />
Costumes are very important in transforming an actor into the character they are playing. Costumes are also used to set the scene of the play. For example, Victorian Era costumes will make the show appear to be set in the Victorian Era. Costumes have been used since the ancient Greeks and Romans. Greek theater was a sacred place and often sacrifices were made on the altar in the center of the stage before the show. A show would take place once a year on a day of celebration of the god worshiped in the temple. According to the Greek culture, the god would be present the whole day of the show and the performance was considered a sacred duty which was paid for by the wealthy. In order to act in the play, the actors had to be totally pure for they were channeling their character. Actors would use a staff and wear a wreath to convey this. The actors would wear red ornamental cloaks and stone masks that belonged to the treasure or the sanctuary, these were early [[Theater in London#Props| props]] (Stricker, 1955) (Bieber, 1971)<ref> Stricker, B. (1955). The Origin of the Greek Theatre. The Journal of Egyptian Archaeology,41, 34-47. doi:10.2307/3855235</ref>. <ref>Bieber, M. (1971). The History of the Greek and Roman theater. Princeton: Princeton University Press. </ref> Not only did the actors have to be in a state of purity, only the clean and pure public could attend this performance. They too would wear decorative cloaks and wreaths to celebrate the sacred day. Costumes were very important to conveying the story due to the fact that it would reveal the gender and social status of the character. Costumes in the Roman theater overlapped quite a bit int that a cloak’s color denoted the status and sex or the character. They also wore masks. During the Elizabethan Era, clothing played a significant part to one's status in society. There were many laws dictating what a person could wear, so many plays had their actors wear clothes of the vernacular for the character. Therefore, the actors of queens and kings wore costumes that reflected that status and those of less important roles wore their own clothing. For plays that took place during the Roman and ancient Greek eras, actors wore togas over their normal clothes. Since costumes were very expensive, many companies reused old costumes (Costumes and Cosmetics, 2013, p. 1) . <ref> Costumes and Cosmetics. (2013) (1st ed.). London. Retrieved from https://www.shakespearesglobe.com/uploads/files/2014/01/costumes_cosmetics.pdf</ref><br> <br><br />
[[File: times-square-1457783_640.jpg|x250px|right|frameless|thumb| Major NY Shows]]<br />
Today costumes are designed by costume designers, who work closely with the director to make the director’s vision come to fruition. They often need to do a lot of research into who the character is and what time period he or she comes from. This research creates an authenticity to the character. A character wearing a crop top and a pair of short shorts would not be taken for women of status in the Victorian Era. The costume creates the character and that costume is iconic. Who would Glinda from "Wicked" be without her extravagant happy dresses? The costumes are more than just the clothing the actors are wearing. They include the shoes and accessories that are paired with the outfit. Costumes are meant to be used as an extension of the actor, which means that if two characters are polar opposites, their outfits will be totally different. It adds to the depth of the character. The costume designer then creates sketches of their proposed idea to share with the director. These costumes are then either approved or sent back with critiques. After the costume designs are approved, there is a lot of work to be done (Nusim, 2017) (Landis, 2014). <ref> Nusim, R. (2017). Character by Design (1st ed.). ACADEMY OF MOTION PICTURE ARTS AND SCIENCES. Retrieved from https://www.oscars.org/sites/oscars/files/costumes_and_makeup_activites_guide.pdf </ref><ref> Landis, D. (2014). COSTUME DESIGN DEFINING CHARACTER (1st ed.). The Oscars. Retrieved from https://www.oscars.org/sites/oscars/files/teachersguide-costumedesign-2015.pdf</ref><br />
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===Fabrics===<br />
[[File: towel-1838210_640.jpg|x250px|right|frameless|thumb| Different Fabrics]]<br />
Costumes come in many different shapes, sizes, and fabrics. This is one of the first things a designer has to think about when designing a costume. The material can affect the character’s movement, the actor’s comfort, the time period, and so much more. Fabric choice comes with much consideration and it is very difficult to choose with so many different fabric choices. One of the first fabrics of choice is wool. It is a fabric known for its warmth and itchiness, which is made from a variety of sheep furs. Even though many find wool to be itchy, wool comes in a variety of different types and not all of them are itchy. The fabric is very spongy and an insulator, but the reason many like wool is its ability to absorb up to 30 percent of its weight in water and not feel wet. Along with its water holding ability, wool is also dirt, tear, and flame resistant. This fabric may be worn by a character who is a sheep farmer in Ireland. Another natural and widely used fabric is cotton. It is a light, cool, and soft material that is used often. Cotton comes from the cotton plant and is stronger wet than dry. It can withstand high temperatures and is more breathable than wool. Silk is another fabric used in theater. It is a natural fiber that is spun by silkworms and is considered a fabric of wealth and success. Silk absorbs moisture in the summer and is warm in the winter, which makes it perfect to wear on stage. Due to its ability to retain moisture, silk is easily dyed and shapes well to a person’s body. Linen, not to be confused with cotton, is another widely used fabric. It is produced from the fiber of the flax stalk and is two to three times stronger than cotton. Linen has a unique luster that comes from its inherent nature and is easily dyed. Other fabrics that are synthetic and likewise also cheaper include polyester, rayon, acetate, and nylon. They have many of the same characteristics of natural fabrics, but they are less natural and prone to wrinkle, stain, and shrinkage (Caver, 2012, p. 306- 309).<ref>Carver, Rita Kogler. Stagecraft Fundamentals Second Edition: A Guide And Reference For Theatrical Production. 2nd ed. Burlington, MA and Jordan Hill, Oxford, UK: Focal Press, 2012. Print. </ref><br />
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===Tools, Accessories, and Sewing === <br />
Once the fabric of the costume is chosen, the fabric(s) has to be put together by sewing or other methods. In order for the fabric to be transformed into a costume, the seamstress must be familiar with the tools necessary to create a costume. Tools such as measuring tapes and patterns assist the costume designers to accurately take the measurements of the actor or actress. Once the measurements for the garment are determined, the designer will start working with either a pre-existing pattern or creating a pattern from scratch. A pattern is a template on which a garment can be cut from to form the specific shape desired. They are often made of paper and traced onto the fabric. To create new patterns, patterns may be combined or a sloper tool can be used. Sloper tools provide generic shapes that can be modified to form a new pattern. After a pattern is created, it is pinned to the fabric and then cut by sewing scissors. These scissors can cut fabrics fast with their adjustability and are therefore more expensive than arts and craft scissors. The next step of the process is sewing the pieces together, which can be done with different types of thread that have as great a range as fabrics do. The chosen thread needs to have similar properties to the fabric. To make the costumes unique and complete, accessories such as belts, buttons, and zippers are added. They can change a one-dimensional costume into one fit for a king or queen, but these accessories must be kept organized in order for them to be found in a timely fashion. Some other important tools are seam rippers, which can cut a seam when a stitch needs to be undone without damaging the fabric, and tailor’s chalk, which is used make marks on fabric. (Caver, 2012, p. 309- 317). Finally, after all of these steps have been completed, the fabric can be sewn together to create the costume. Most costumes are sewn by sewing machines, with intricate details sewn by hand. Some of the stitches sewn are quite easy, however many are difficult and require much skill. One commonly used stitch is the overlocking stitch. It is used to combine two edges of the fabric to create a hem on the inside that appears seamless when flipped inside out. The overlocking stitch is considered to be very versatile with it being used for everything from decoration to reinforcement to the construction of a fabric. Once the costumes are completely sewn they are then fit to the actor or actress to ensure a total fit. Interestingly, more complex costumes are initially made of muslin, a very inexpensive fabric, and are fitted to the actor so that the exact measurements can be used during the construction of the real costume. The creation of a costume is a multifaceted process that takes a design from paper to real life. It is difficult, but costumes are essential to a show for they aid the viewer in imagining and fitting the actors or actresses into the roles they play (Caver, 2012, p. 323- 334) <ref> Carver, Rita Kogler. Stagecraft Fundamentals Second Edition: A Guide And Reference For Theatrical Production. 2nd ed. Burlington, MA and Jordan Hill, Oxford, UK: Focal Press, 2012. Print.</ref>.<br />
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===Types=== <br />
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Costumes have come a long way from dresses, togas, and suits. As culture has invited new and exciting shows to the theater, costumes have had to change with the culture. Today’s theater productions have definitely proven to be a challenge for costume designers. There is now a myriad of shows of different time periods, themes, and ethnicities, which can be seen by the 2017 Tony nominees and shows that are currently popular. A prime example would be the Tony-winning "Natasha, Pierre & The Great Comet of 1812", which is an excerpt from Leo Tolstoy’s "War and Peace" about the affair of Natasha with Anatole and Pierre’s existential search for meaning <ref> S. (n.d.). The Great Comet - Official Broadway Site. Retrieved June 13, 2017, from http://greatcometbroadway.com/</ref>. Natasha is a charismatic young Russian woman of status engaged to marry her beloved fiancé Andrey, but while he is away at war she is sent to live with a godmother where she is seduced by an unknowingly married man. Natasha’s costume is white for innocence and is fitting of women of status in Russian during the early 1900’s. All of the costumes are a mixture of timepieces with modern clothing. This can add the idea that "War and Peace" is not just a very long novel with little to do with society today. Natasha’s story is a timeless tale of love, lies, and scandal, so the costumes must accent the characteristics of the characters and make them believable. Another Tony Award-winning show that has a completely different costume design is "The Lion King". "The Lion King" is a very different show about finding one's identity and is loosely based on Hamlet. This is a very difficult show to design for because the characters are animals. It is very hard to mimic the movement of an animal, so the designers worked to make costumes move with the movement of the actors and dancers. They utilized both masks and puppetry to create the movement of many of the animals. Timon and Pumbaa are life-size puppets that are connected to the actors. These shows show the great range of costumes that exist today in theater and the different styles and techniques used. <br />
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===Current Practices===<br />
Tours of the [[National Theater]], [[Royal Opera House]], and Royal Shakespeare Company gave insight into how costumes are currently dealt with. The trend is that the costumes department is divided into sub-departments. These subdepartments take care of creating the costumes, caring for the costumes during their show's run and managing them after the show has finished. During a production, the costumes must be cleaned after performances to keep them in good condition for the actors. This is especially important when a costume is dirtied during the performance. If the character gets a blood stain during the show, it cannot be there at the start of the next performance. In addition, any damage such as a tear in a costume must be repaired. After a show, the costumes are typically labeled with the name of the show they were from, the actor who wore it and the character they played. These costumes are organized and stored in the theater company's costume shop. The costumes can be rented by theater companies, film companies such as the BBC and sometimes the public for use. This enables more money to be earned back from the costs of the show. The Royal Shakespeare Company occasionally has auctions that are open to the public where the costumes are sold off for under £75.<br />
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== Hair and Makeup==<br />
===History and Design ===<br />
Makeup was not used in Greek and Roman theater due to the fact that the masks that they wore were designed to portray the emotions and character traits the characters had. (ref) It was not until the time of Queen Elizabeth that makeup was frequently used. The makeup of the actors was very important due to the fact that not only did it create the character, it also disguised their identity as a man. The actors were painted with white face makeup that sometimes consisted of a mixture of vinegar and white lead, “ceruse”, which was highly poisonous. The white was important because it represented the faces of the rich and royal due to the fact that they did not have to go outside to work. The standard for beauty was a pale white complexion, bright red cheeks and lips, kohl lined eyes, and a blond wig. This would usually be put on a young boy when he was transformed into the character of a beautiful young woman. To make characters shimmer, like characters in Shakespeare’s “A Midsummer Night’s Dream”, crushed pearls and silver would be applied to their makeup (Costumes and Cosmetics, 2013, p. 2) <ref> Costumes and Cosmetics. (2017) (1st ed.). London. Retrieved from https://www.shakespearesglobe.com/uploads/files/2014/01/costumes_cosmetics.pdf </ref>. Modern stage makeup did not really appear until the 1920’s and 1930’s and was started by Max Factor. Max Factor was the person who coined the term makeup and his son was credited with many innovations in makeup. They started the lip gloss, cake makeup, pan-stick makeup, the original cover-up makeup, and the first waterproof makeup (Carver, 2012, p. 339) <ref> Carver, Rita Kogler. Stagecraft Fundamentals Second Edition: A Guide And Reference For Theatrical Production. 2nd ed. Burlington, MA and Jordan Hill, Oxford, UK: Focal Press, 2012. Print. </ref>. Today stage makeup is created by many companies and comes in a variety of different shapes and sizes. They are used in a myriad of different techniques to achieve looks that portray different time periods, people and in some cases animals. The makeup signifies the character’s health, age, and liveliness and also adds to his or her illusion. Together the costume designer and hair and makeup designer work together to flush out and create a cohesive look for the character they are creating. With enough makeup, one can create themselves into a person they are not. An actor can be given an older, younger, sicker, healthier, prettier, plainer, or clearer look. People tend to go heavier on makeup when doing stage makeup than everyday makeup due to the fact that stage lights wash out a normal skin color making it much lighter (almost sheet white). This makes it hard for viewers at a distance to see the fine details of the makeup. To have an effective makeup design, the makeup must project the character to the audience (Gillette, 1999, p. 432-434) <ref> Gillette, J. M. (1999). Theatrical design and production: an introduction to scene design and construction, lighting, sound, costume, and makeup. New York, NY: McGraw-Hill. </ref> <br><br />
When designing makeup, one must keep in mind that they are changing the actor into the character. They have to do a great deal of research to get the character right because it is easy to spot what character is out of place. It was said by Richard Corson that the “makeup suggests genetics, environment, health, disfigurements, fashion, age and personality” (Gillette, 1999, p. 432) of the character. Therefore, it is important to accurately represent the character through their makeup. Makeup can also indicate if a person has been exposed to the elements based on the skin’s color and texture. One can also see if the character has deformities, both accidentally and genetically, which add to the personality of the character quite a bit. A rule of thumb for eccentric makeup is that if the character is eccentric then make it eccentric, if not then stick to the time period. When creating characters of different ages, younger skin tends to have better color with a firmer feel and older skin has a looser feel with less color and more wrinkles. The personality of a character is also portrayed in the makeup with a happier person having smile lines and a grumpier person having a perpetual frown. These are all good things to keep in mind when doing the makeup design and aid in achieving the look that is trying to be accomplished (Gillette, 1999, p. 432-434). <br><br><br />
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===Facial shapes===<br />
Facial shapes have great importance when doing makeup due to the fact that faces are always balanced. Therefore, the makeup must be balanced with the face as well. Faces come in in six different classes of shapes, which are pear, oval, heart, long, round, and square. Depending on one’s facial shape, makeup should be applied differently to highlight its features. Oval faces are considered to be perfectly symmetrical due to the fact that it is wide at the cheekbones and slopes down to a more pointed chin. The heart shaped face is much more different due to the fact that the top of the face is more rounded and then it has a more pointed or triangle shaped chin. It is also known as a triangle face shape. A pear-shaped face is much like a pear. It has a smaller forehead with a gradually larger face down to a wide chin. The square facial shape is the most common face shape. It has more of an oblong shape until the chin, where it’s more like a tilted right angle. A round face shape is very similar to an upside down pear shape face, but the chin is more rounded. The last face shape is the long face shape which is like an elongated oval face shape with higher cheekbones. The face shapes of the actors are necessary for a makeup designer to know when designing a character's makeup as it determines what parts of the face gets highlighted or shadowed. It‘s also important to know other faces when changing a person’s face shape to fit a character (Carver, 2012, p. 340). <ref> Carver, Rita Kogler. Stagecraft Fundamentals Second Edition: A Guide And Reference For Theatrical Production. 2nd ed. Burlington, MA and Jordan Hill, Oxford, UK: Focal Press, 2012. Print. </ref>. <br> [[File: face.JPG|x250px|center|frameless|thumb| |caption = Various Face Shapes (Carver, 2012, p.340 FIG.13.1)]] Various Face Shapes (Carver, 2012, p.340 FIG.13.1) <br><br><br />
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===Tools=== <br />
Makeup tools are very important to creating a character’s look due to the fact that they are what is used to transform the actor's face into the character's face. Makeup artists utilize brushes of different sizes, shapes, thicknesses, and styles. They all have a purpose and a designer will have many. Flat brushes are very good for blending colors together due to the fact it gives you a great amount of control when adding and removing pigment. An angle brush is really important for doing eye shadows and precise lines near or around the eye. Dome brushes are really good for blending and applying concealer under a person’s eyes whereas round brushes are good for eyeshadow and brows. There are detail brushes and powder brushes which add small details and blend well. Foundation brushes are used to apply and smooth foundation, which covers the majority of the face. The last brush to be covered is the contour brush. This brush is used to highlight and shadow the face so the person looks like they have higher cheek bones. It is also used to reconstruct the face to the right face shape. It is apparent that there are many brushes with different purposes and different artists have different uses for any given brush. They are all correct though! People have different uses for different brushes. Brushes are not the only tool that makeup artists use. Artists use spatulas to apply scar wax and thicker products, which is mixed with a plastic palette. A powder puff is usually used to apply powder or blot. Different types of sponges are used to blend and apply crème makeup. As a rule of thumb, the more porous the sponge the more texture is going to be applied to the skin. These are just some of the tools makeup artists use and there is much more to explore. (Carver, 2012, p. 341- 343) <ref> Carver, Rita Kogler. Stagecraft Fundamentals Second Edition: A Guide And Reference For Theatrical Production. 2nd ed. Burlington, MA and Jordan Hill, Oxford, UK: Focal Press, 2012. Print. </ref>. <br><br><br />
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=== Types of Makeup===<br />
====Cake Makeup==== <br />
This is the most commonly used type of makeup and it comes in both dry and moist compacts of pigment. They come in a variety of colors and shades matching every skin color. Cake makeup additionally comes in a variety of highlights and shadows to contour the actor’s face. To apply this makeup, artists moisten a makeup sponge or brush and then wipe it across the cake. It is then applied to the face. However, if the sponge is not wet enough the makeup won’t apply. If the sponge is too wet, the makeup will be too opaque. An actor should have a clean face when this is being applied. Usually, the highlights and shadow are applied over the foundation, but to get a more muted effect it can be placed under the foundation. Cake makeup does not need setting powder to prevent the makeup from smudging and sweating off (Gillette, 1999, p. 436-437). <br><br />
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==== Crème Makeup====<br />
Crème makeup is a non-greasy makeup that is often applied with a sponge, brush, or fingers. Unlike cake makeup, crème makeup does not require a damp tool. It can be used with cake makeup, but it does require setting powder. For easier usage, this makeup comes in sticks and crayons (Gillette, 1999, p. 437-438).<br><br />
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==== Liquid Makeup ====<br />
This makeup is not usually used for the face, but for the body. The use of a name brand theater makeup is not necessary because store bought types work just as well. One drawback of this makeup is that it dries more quickly than other makeups, which makes it difficult to blend when more than one color is used (Gillette, 1999, p. 439). <br><br />
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==== Dry Makeup ==== <br />
Dry makeup is classified as makeup that is dry when applied. This makeup is not usually used as a standalone makeup. It is usually used in conjunction with greasepaint and cake makeup. A common dry makeup is face powder, which is used to set a face. Though, if in a pinch, it can be used as a quick foundation. Any excess is dusted off with a fluffy brush (Gillette, 1999, p. 439). <br><br />
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==== Greasepaint ====<br />
Greasepaint was the first form of makeup before good quality crème and cake makeups were created. It was originally the most commonly used face makeup. It is quite translucent and available in a multitude of colors. It is applied with the fingertips and stippled to create a multidimensional layered effect, however, each layer needs to be set with setting powder. It clogs the pores and makes the person sweat even more than normal when under the bright lights of a stage (Gillette, 1999, p. 439). <br />
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<gallery mode="packed"><br />
Image:makeup-brush-1746322_640.jpg|''Brushes''<br />
Image:creme.JPG|'' Ben Nye crème foundations (Carver, 2012, p.340 FIG.13.9)''<br />
Image:cosmetics-259181_640.jpg|''Highlighter and Brushes''<br />
</gallery><br />
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===Application technique===<br />
==== Highlights and shadowing====<br />
To create a multidimensional look, makeup artists take advantage of shadowing and highlights. They are used to make a person look older, younger, sicker, or healthier. Contrasting colors, such as brown and bright ivory, are used to draw attention to one part of the face while reducing attention on another part. One can create harsh angles by making harsh lines and smooth harsh lines by blending lighter colors (Gillette, 1999, p. 440-441). <br><br />
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==== Stippling ====<br />
Stippling is the act of dabbing or patting makeup rather than stroking it on the face. It is often done using a brush or sponge and it roughens the texture of the skin. The appearance of larger pores are produced by a larger pored sponge and can also be used to create the look of acne. To create a more natural look two or more colors are stippled together. If a shadow or highlight is too heavy it can be stippled with a base to create a natural look (Gillette, 1999, p. 442). <br />
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{{Infobox<br />
|title = Power of Makeup<br />
|bodystyle = width:20em<br />
|image = [[File:nvo.JPG|x450px|alt=Milestone Image]]<br />
|label1= Thanks to<br />
|data1= [[User:Nbloniarz|Natalie Bloniarz]]<br />
}}<br />
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===Special Makeup ===<br />
Sometimes an actor does not have the same exact features of the character they are playing. When this is the case, products such as nose putty, derma wax, latex, and prosthetics are used to modify the actor's features and achieve the character's appearance. Not everyone has a crooked nose or a facial scar so makeup artists must get creative when a character does have an irregular feature. Nose putty is used to give a different shape to the actor’s nose, chin, or other inflexible facial feature. The putty is shaped onto the face of the actor and is glued onto the skin with spirit gum to create more security. It is then painted with makeup to match the skin tone and stippled to give texture. Derma wax is similar to nose putty but is does not adhere as well so spirit gum is absolutely necessary for adhesion to the face. It is more easily molded and adding cotton adds to its structure. It is painted similarly to nose putty. Latex is one of the more used special effects because it can be used to make bald caps, eyebrow masks, and wrinkles. However, the drawbacks of latex include that it is difficult to remove and, if applied to hair, the hair must be shaved off and people can be allergic to latex. Latex does create a nice smooth layer that can be built up with makeup though. When creating these parts are too much, prosthetic noses, chins, and others pre-made features can be purchased. They are sometimes needed to complete the look (Gillette, 1999, p. 443-50). <br><br><br />
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===Hair=== <br />
Hair styling finishes off a character's appearance. Often use wigs are used to achieve the character's hair, but sometimes the actor’s actual hair is styled too. The hair style must match the style and length of the time period to create a believable and authentic character. The hair can be dyed, curled or braided to match the time period. If the character is a flapper from the 1920’s then she would have a bobbed hairstyle and a man of the same time would have a slicked back middle part. It takes a lot of research and time to create the perfect look for the character’s hair. <br><br><br />
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==Poster & Promotion==<br />
Theater advertising is an often neglected area of study but critical to putting on a show. After all, there is no show without an audience to see it. The promotional methods were influenced by the technology of the time. During the Middle Ages, the most effective advertising was word of mouth. The performers and town criers would announce performances to the town. Additionally, the sound of drums and trumpets were used to indicate a performance. Descriptions of the show were also written out, given to people and attached to posts in the town. This led to the name poster. At the time of early theater in London, printers started to be given licenses to print playbills or posters for shows. These were handed out to people. In addition, there would be a drum procession through town and a flag raised at the theater to indicate a show. Just before a performance, a trumpet would sound three times. As printing technologies improved over time, so did the posters. Actors also started to expect their names to appear on these posters. Circuses led a new development for these posters. They introduced using illustrations as it was a natural way to promote with all the animals present. Introducing images to posters created new appeal and draw for those who were illiterate. The next advancement was the introduction of color to the illustrations. The posters became an art form. They started creating larger advertisements created by printing the design across many pages and posting them all up together in the proper configuration, like a puzzle. Posters grew so important that stock posters were developed for popular shows. The quality of the posters improved as the technology did but experienced little improvement during the World Wars. The Pop Art movement brought life back to the posters. Advertisers started bringing in television stars to create more draw. Posters would feature iconic images that could also be used for marketing. While posters are not as important as they once were, they are still a key part of advertising for performances. <ref>Theatre posters. Retrieved from http://www.vam.ac.uk/content/articles/t/theatre-posters/</ref> Walking around London, posters for the current shows are hung everywhere. They line the underground stations. The West End also serves as its own advertising. Walking through the area, the buildings are plastered with billboards and posters displaying what is showing. There is also a free guide that is distributed called the Official London Theatre Guide which began in 1922. It contains information on all of the upcoming shows as well as theater and tourist information. E-marketing is also important. Online advertisements can create a draw. Subscribers may receive notification emails about shows and offers as well as an e-newsletter. After all this time though, word of mouth still remains powerful. The hype created for shows such as "Wicked", "The Lion King", and especially "Hamilton" right now, draw in audiences and create high demand for shows.<br />
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=Section 2: Our interpretation of The Play that Goes Wrong =<br />
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''The Play that Goes Wrong'' is a hilarious play that follows a production group attempting to put on a play called ''Murder at Haversham Manor'', a 1920's murder mystery. However, Cornley Polytechnic Drama, the group putting on the murder mystery, has had a difficult time with prior shows, so the expectations are set pretty low for the play they are producing now. Due to the fact that this a play inside of a play the stage tech are seen scrambling to fix things and become part of the actors. The stage tech also interacts with the audience the whole time giving the feeling that you are watching the ''Murder at Haversham Manor'' and all of the mess ups that an unprofessional and accident prone theater may face. For our deliverable, we explored the scenic, lighting, sound, costume, makeup, and promotional aspects that went into the performance we saw on "The Play That Goes Wrong" and created our own interpretations of how to put on the show in regards to each department. These interpretations are largely based on what we saw at the performance, what worked and what we felt could be improved as well as the research we did in our background.<br />
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==Scenic==<br />
[[File:Stage Right- sm- JR.JPG|thumb|right|x500px]]<br />
Designing the set for "The Play That Goes Wrong" is a unique process because it is a play within a play. As the designer for "A Play That Goes Wrong" the overall set design must be considered. However, the show is a performance of an amateur theater company attempting to perform a show. Therefore, to establish the set on the visual level, the designer must act as the designer for that company. The set must be designed to look like it was designed for the murder mystery show. Furthermore, it must reflect the styles and resources of the amateur theater group. Therefore, the set would appear to be low budget and not a refined, high quality. For this part of the design, I am basing the set on the board game Clue as it is a classic example of a murder mystery that many people can recognize. Once the basic visual design of the set is established based on the murder mystery play, design considerations for "The Play That Goes Wrong" must be looked at. This includes all of the special effects that are used to make it look like the murder mystery play is going terribly wrong. The most important tool we will be using is electromagnets. Throughout the show, the set literally falls apart. Wall hangings fall down, the second story floor collapses and the walls themselves fall down. We plan to achieve these effects through the use of electromagnets that can be turned on and off. When, for example, a wall decoration should be hanging, the magnet will be turned on. When it is time for the decoration to fall, the magnet can simply be turned off. This enables simple, on-demand control of the set failures. From a booth, the magnets can be switched on and off and perhaps even integrated into the cue system. When the second story floor collapses, the fall is controlled by mechanics behind the set. The platform is supported by cantilevered beams. Backstage, these beams are held up in a system that lets them pivot and lock into place in several positions. The beams begin the show horizontal. When the floor first fails, the position can be released, and drop in a controlled manner through the use of a motor, into the next position it can lock into. This can be repeated as the platform continues to fall. In addition, the show makes use of a bit of pyrotechnics when the garbage bin catches fire. This would be the responsibility of specialists as fire is a safety hazard.<br><br />
Actually designing the set in Solidworks proved to be a good lesson in the difficulties of set design. In the model, it becomes very apparent how tricky it is to make sure every seat has a good view of the set. The proscenium arch itself quickly blocks out the view of the audience as they start to move off to either side. This requires the set to be further forward on the stage to improve visibility. Secondly, designing the side walls of the room quickly turned into an issue. In order to improve visibility, I turned the left wall out towards the audience. Instead of a 90 degree with the back wall, it is at an 118-degree angle. However, I realized the same could not be done with the other wall. This is because the floor of the second level has to be able to swing down but, if it is made with an angle greater than 90 degrees, it will not have clearance on the side. In addition, the same problem of visibility would occur that I sought to eliminate on the other side. That is also ignoring the fact that having one side turned out but not the other would create a very oddly shaped room. It is at this point that I revisited the original set. My set had already been based on it a bit, as the story line and set were closely related meaning that the set couldn't be changed too much and still have the lines and action work. The set pieces had to be able to fail certain ways in order to fit with the story. When I looked at the set again I realized how the designer played with perspective. The back wall was actually split into sections that enabled them to bend it so each side wall could be angled out without the back wall seeming warped. Therefore, set design is not nearly as simple as creating an image in your head of the scene and putting it on the stage. In the rendering of my simplified set, some of my ideas for modification to the original set can be seen. First of all, while the rendering does not contain all the details, the concept is still for the set to be less elegant than the original set. This fits with the theme that the theater company within the show is low budget and amateur. Secondly, the furniture and color scheme were inspired by the board game Clue. In particular, the couch was designed after couches seen on the board game in the lounge and study. The wall color was also based on the game and the light color is meant to keep the area appearing open and large as light colors make spaces seem larger.<br />
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==Props==<br />
The props are very important to the show due to the fact that they add to the humor of the play within the play. The play itself is called ''The Play That Goes Wrong'' and that's what is shown to the audience. The missteps and malfunctions of the Cornley Polytechnic Drama group that go horribly wayward are captured. Below are some of the important props that make the show a comedic success. <br />
{{Infobox<br />
|title = collie<br />
|bodystyle = width:25em<br />
|image = [[File:dog-2286773_1280.png|x450px|alt=Milestone Image]]<br />
|label1= Painting prop<br />
|data1= royalty free image <br />
}}<br />
=== Picture of the Collie ===<br />
It may seem like an odd prop, but this picture is very important to some of the humor of the play. During the show, characters are interviewed by Inspector Carter to determine who killed Charles Haversham. When Cecil Haversham, the brother of the late Charles Haversham, is interviewed by Inspector Carter, the inspector looks at the picture above the broken mantel and asks if the picture of the dog is a portrait of the father. It is obvious that the wrong picture was put up during the set decoration and it shows how the production company producing the show is not at all organized. The conversation progresses and the detective asks if the recently departed Charles was the spitting image of his father, again depicted by the picture of the dog. I choose a picture of a silly looking dog to add to the funniness of the situation and allow the audience to try to picture the actor as a dopey looking dog. If I could get a picture made, I would have the dog holding a whiskey glass and playing cards. The prop has a magnet on it which keeps it attached to the wall and when the door gets shut at the end of the act all of the stuff hanging on the walls falls off by the disengagement of the magnets. This adds to the dysfunction of the show and makes everyone laugh. <br />
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{{Infobox<br />
|title = "white spirit"<br />
|bodystyle = width:12em<br />
|image = [[File:glass-565914_640.jpg|x450px|alt=Milestone Image]]<br />
|label1= Drinkable prop<br />
|data1= royalty free image<br />
}}<br />
=== White Spirit and Whiskey bottles ===<br />
Fake alcohol is often used in theater to liven the mood and add to the plot. As said earlier, props can be something that is edible or drinkable on stage, so the “liquor” does count under the umbrella term of props. During the show, after Charles Haversham’s death, the characters decide to grab some of Charles’s whiskey to calm down. The lines say that the first bottle grabbed is empty but the actor grabs the full bottle so he pours it out. Then when the character grabs the bottle that is supposed to be full it is the empty bottle previously looked for. It is obvious that when the two bottles were placed they were switched or the actor got the bottles from the wrong places. Either way, the scene shows the cast and the production company’s incompetence. The murder mystery inside of the show is just so bad it’s funny. The next problem is that there is no liquor for the cast to drink during the following scene. Instead, the stage manager hands out a few glasses with a bottle of unknown “white spirit” that looks like some cleaning detergent. When the actors are forced to take a drink they all spit it out because of it, of course, tastes terrible. For these props, I will have two generic whiskey bottles, one full of a brownish liquid and one empty. For the “white spirit” handed to the actors as an alternative, I will have a glass bottle with a do not drink sign on it to make sure that the audience understands the mistake and why the actors are spitting the liquid out. <br><br />
{{Infobox<br />
|title = vintage couch<br />
|bodystyle = width:12em<br />
|image = [[File:couch-1952918_640.png|x450px|alt=Milestone Image]]<br />
|label1= Furniture props<br />
|data1= royalty free image<br />
}}<br />
=== Couch ===<br />
The couch is another classic piece of furniture used on the stage. The show takes place during an engagement party on a cold December night during the 1920’s. Therefore, the couch is in the style of that time period. The couch is at the center of the stage and it the center of the drama due to the fact that is where Charles Haversham’s body is found. There is nothing really special about the couch other than having collapsing legs. For the set, I would have a couch that looks like it’s from that time period and has it placed in the center of the stage to attract attention to it. <br />
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{{Infobox<br />
|title = stretcher<br />
|bodystyle = width:25em<br />
|image = [[File:vintage-1636373_640.jpg|x450px|alt=Milestone Image]]<br />
|label1= Illusion Prop<br />
|data1= royalty free image<br />
}}<br />
=== Stretcher ===<br />
A stretcher is another weird prop to find on stage, but props are meant to have attention drawn to them. During the show, the stretcher is used to lift away the dead body, but this stretcher is from the 1920’s. It is basically two long horizontal poles with canvas that is sewn with holes to put the poles through. The funny part of the show is that, when the actors are trying to pick up the body, the two poles rip from the canvas leaving the body and the rest of the canvas under the body. The “dead” body Charles then grabs the poles with his arms and legs to be carried off the stage. It is really funny due to that fact that no matter what the actors do, nothing goes right. To create the stretcher, I would take two seven foot wooden poles and sew the canvas to fit around the poles with enough room to cradle a body inside. I would then have the base Velcroed so that it would imitate ripping when the body is lifted. <br />
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==Lighting==<br />
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[[File:Lighting_The_Play_that_Goes_Wrong.jpg|500px|alt=Image ]]<br />
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The lighting design for ''The Play that Goes Wrong '' is used to add to the comic timing and the absurdity of the play. As previously stated, the show is performed by an amateur theater company who has had several attempts at performing shows such as "Cats" and "James and the Peach" with each show resulting in failure. They are determined to make this show called, ''Murder at Haversham Manor'' a success. The wash for this play remains constant throughout the entire play and there are some attempts to make the lightning fancier with spotlights and flashes of red for dramatic effect. The stage is a stage on a stage, which sounds confusing. The diagram above displays what the stage looks like with the lights and their position on the batons and side mounting infrastructure. The scene of the play does not change and takes place in a living room and study on a cold winter's night as well as behind the set.<br />
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Starting with the lights that are between the fake backstage and backstage, our plan is to use PAR 64 strip lights with ROSCO 81 Urban Blue with Diffuser. The Urban Blue color is a great color to imitate a very cold, brittle scene. There is a diffuser to dampen the coolness and imitate an amateur lighting designer's attempt at making the set cool. These lights will be shining straight downward creating the cool winter scene. For the wash, backwash and side wash, we will use the Source 4 PARNel WFL, the Source 4 PAR MFL and Chauvet LED PAR 64 fixtures. The WFL is to light the wide stage, but because they are to have a wide dispersion of light, the color will be lacking in color intensity. The MFL is also to light the stage; it will have a greater color intensity, but will only have a throw distance of the front of the stage. There will be ROSCO 02 Bastard Amber and ROSCO 4830 CC 30 Pink gels in the fixtures since these colors are excellent on every skin tone and create a happy, warm tone. We have several fixtures meant for spotlighting actors; the Q500NSP (PAR 56 NSP) and ETC 405 (5-degree Source Four). The ETC fixture is meant to spot someone centered on the stage and the QS500NSP is meant to spot someone who is on the left and right middle of the stage. These lights do not have gels because white light is sufficient to spotlight any character. The last two fixtures are the MAC TW1. These are dynamic fixtures meaning that they have a certain degree of rotation in the x and y-axis. They are able to track moving people and can display a CMY spectrum of colors. These will be used for the few scenes of attempted fancy lighting. The angles of the lights that are listed in the table below are only approximate; there is a high chance, that when the master electrician is hanging and focusing the lights, the angles will change.<br />
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There are only a few scenes with "fancy lighting", so the rest is leaving the wash up on the set. These scenes include the opening of the play and during a scene in the beginning where the dead body is found. However, an actor doesn't make his cue and the effect is repeated two or three times as the entire cast repeats that there has been a murder. In the opening of the play, there is a spotlight where the "director" of the play is supposed to stand in to present his play, but he is only half in the light because he did not step forward enough to be in the light. We plan to use the ETC 405 fixture to shine a spot on the stage and have it focused so that we miss the actor. Our plan for the actor who is supposed to be dead on a couch is to use one of the MAC TW1 to shine a spot on him while he is still getting into his place. Lastly, when the cast says "murder", we plan to use both of the MAC TW1s to flash red on the group of actors on the center of the stage. <br />
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===Lighting Details===<br />
{| class="wikitable" width="80%"<br />
! Name<br />
! Angle<br />
! Colour<br />
|-<br />
! scope="row"| Chauvet LED PAR 64<br />
| align="center"| 135<br />
| align="center"|ROSCO 02 Bastard Amber<br />
|-<br />
! scope="row"| Chauvet LED PAR 64<br />
| align="center"| 225<br />
| align="center"| ROSCO 02 Bastard Amber<br />
|-<br />
! scope="row"| Q500NSP (PAR 56 NSP)<br />
| align="center" |135<br />
| align="center" |No Need<br />
|-<br />
! scope="row"| Q500NSP (PAR 56 NSP)<br />
| align="center" |135<br />
| align="center" |No Need<br />
|-<br />
! scope="row"| ETC 405 (5 degree Source Four)<br />
| align="center" |0<br />
| align="center" |None<br />
|-<br />
! scope="row"| Par 64 Strip (WFL)<br />
| align="center" |0<br />
| align="center" |ROSCO 81 Urban Blue with Diffuser<br />
|-<br />
! scope="row"| Par 64 Strip (WFL)<br />
| align="center" |0<br />
| align="center" |ROSCO 81 Urban Blue with Diffuser<br />
|-<br />
! scope="row"| Par 64 Strip (WFL)<br />
| align="center" |0<br />
| align="center" |ROSCO 81 Urban Blue with Diffuser<br />
|-<br />
! scope="row"| Par 64 Strip (WFL)<br />
| align="center" |0<br />
| align="center" |ROSCO 81 Urban Blue with Diffuser<br />
|-<br />
! scope="row"| Par 64 Strip (WFL)<br />
| align="center" |0<br />
| align="center" |ROSCO 81 Urban Blue with Diffuser<br />
|-<br />
! scope="row"| Source Four PARNel WFL <br />
| align="center" |90<br />
| align="center" |ROSCO 02 Bastard Amber<br />
|-<br />
! scope="row"| Source Four PARNel WFL <br />
| align="center" |270<br />
| align="center" |ROSCO 02 Bastard Amber<br />
|-<br />
! scope="row"| Source Four PARNel WFL <br />
| align="center" |30<br />
| align="center" |ROSCO 02 Bastard Amber<br />
|-<br />
! scope="row"| Source Four PARNel WFL <br />
| align="center" |15<br />
| align="center" |ROSCO 02 Bastard Amber<br />
|-<br />
! scope="row"| Source Four PARNel WFL <br />
| align="center" |0<br />
| align="center" |ROSCO 02 Bastard Amber<br />
|-<br />
! scope="row"| Source Four PARNel WFL <br />
| align="center" |345<br />
| align="center" |ROSCO 02 Bastard Amber<br />
|-<br />
! scope="row"| Source Four PARNel WFL <br />
| align="center" |335<br />
| align="center" |ROSCO 02 Bastard Amber<br />
|-<br />
! scope="row"| Source Four PARNel MFL<br />
| align="center" |15<br />
| align="center" |ROSCO 4830 CC 30 Pink<br />
|-<br />
! scope="row"| Source Four PARNel MFL<br />
| align="center" |0<br />
| align="center" |ROSCO 4830 CC 30 Pink<br />
|-<br />
! scope="row"| Source Four PARNel MFL<br />
| align="center" |0<br />
| align="center" |ROSCO 4830 CC 30 Pink<br />
|-<br />
! scope="row"| Source Four PARNel MFL<br />
| align="center" |350<br />
| align="center" |ROSCO 4830 CC 30 Pink<br />
|-<br />
! scope="row"| Martin Mac TW1<br />
| align="center" |20<br />
| align="center" |No Need<br />
|-<br />
! scope="row"| Martin Mac TW1<br />
| align="center" |340<br />
| align="center" |No Need<br />
|-<br />
|} <br />
<ref>"Source Four ® 5 ̊ Ellipsoidal Series". Texas Scenic. N.p., 2017. Web. 14 June 2017.</ref><br />
<br><br><br />
<br />
==Sound==<br />
<br><br />
[[File:Sound_The_Play_that_Goes_Wrong.jpg|500px|alt=Image ]]<br />
<br />
The sound design for ''The Play that Goes Wrong'' is not very complex and was purposefully done this way. The cast is made up of only 8 members who have only spoken parts. There is one cast member, who acts as the sound board operator and director, who seems to wear a Clear-Com looking headset that does end up projecting through the speakers. Characters will each have a microphone pack that will be projected out through 4 speakers that are hung on vertical struts. These speakers will have 90 degree dispersion, with 45 degrees of dispersion on each side of the axis. Two of the speakers will be located at the front orchestra section mounted at 45 degree angles from where they are mounted. This will project the sound to the first level of the theater. The other two smaller speakers will be mounted on the wall at the front of the second level and will be lined up against the wall. The diagram above shows the design. <br />
<br><br />
In the show there are multiple sound effects that go off throughout the show. In the table below, the act, scene, name and file is presented. These are the sounds we would pick if we were to produce the show. We are using YouTube videos that were converted into MP3 files. The references section has the links to the videos.<br />
<br><br />
{| class="wikitable" width="80%"<br />
! Act <br />
! Name<br />
! Listen<br />
|-<br />
! scope="row"| 1<br />
| align="center"| Creaking Door<br />
| align="center"| <mp3player>File:WoodDoor.mp3</mp3player><br />
<ref>Wood Door Creak Open Sound Effect. (2014). https://www.youtube.com/embed/U3Hqd6fw-i8. </ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Door Slam<br />
| align="center"|<mp3player>File:DoorSlam.mp3</mp3player><br />
<ref>Door Slam Sound Effect (Download Link). (2012). https://www.youtube.com/watch?v=fNNhE0Cz2QY.</ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Dramatic Music<br />
| align="center"|<mp3player>File:Suspense.mp3</mp3player><br />
<ref>Suspense Sound Effects. (2016). https://www.youtube.com/watch?v=ziobtd9JTtk.</ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Flame Lighting<br />
| align="center"| <mp3player>File:Fire.mp3</mp3player><br />
<ref>Fire sound effect (3). (2011). https://www.youtube.com/watch?v=Zmw32wCGWuc.</ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Body Hitting the Ground<br />
| align="center"| <mp3player>File:Bodyeffect.mp3</mp3player><br />
<ref>Body Fall SOUND EFFECT - Körper fällt zu Boden SOUNDS. (2015). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Telephone Ringing<br />
| align="center"| <mp3player>File:Old_phone_-_sound_effect.mp3</mp3player><br />
<ref>old phone - sound effect. (2012). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Drawing Sword<br />
| align="center"| <mp3player>File:Draw_sword_sound_effect_(2).mp3</mp3player><br />
<ref>Draw sword sound effect (2). (2012). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Sword Clashing<br />
| align="center"| <mp3player>File:Sword_clash_sound_effect_(1).mp3</mp3player><br />
<ref>Sword clash sound effect (1). (2012). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Gun Shot<br />
| align="center"| <mp3player>File:MLG_Gun_Shot_Sound_Effect.mp3</mp3player><br />
<ref>MLG Gun Shot Sound Effect. (2016). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Crash<br />
| align="center"| <mp3player>File:LOUD_CRASH_SOUND_EFFECT.mp3</mp3player><br />
<ref>LOUD CRASH SOUND EFFECT. (2015). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 1<br />
| align="center"| Dramatic Music Repeat<br />
| align="center"| <br />
|-<br />
! scope="row"| 1<br />
| align="center"| Dramatic Music Repeat<br />
| align="center"| <br />
|-<br />
! scope="row"| 1<br />
| align="center"| ''Girls on Film'' by Duran Duran<br />
| align="center"| <mp3player>File:Duran_Duran_-_Girls_On_Film.mp3</mp3player><br />
<ref>Duran Duran - Girls On Film. (2010). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 2<br />
| align="center"| Dramatic House Music<br />
| align="center"| <mp3player>File:Open.mp3</mp3player><br />
<ref>🎹 Trevor DeMaere - Opening Stargate (DramaticEpic Orchestral Music). (2012). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 2<br />
| align="center"| Paper Scattering<br />
| align="center"| <mp3player>File:Papers_Falling_SOUND_Effect.mp3</mp3player><br />
<ref>Papers Falling SOUND Effect. (2016). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 2<br />
| align="center"| Clock Chiming<br />
| align="center"| <mp3player>File:Clock_chimes_12_Sound_Effect_(SUPERB).mp3</mp3player><br />
<ref>clock chimes 12 Sound Effect (SUPERB). (2012). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 2<br />
| align="center"| Knocking on Wooden Door<br />
| align="center"| <mp3player>File:Loud_Knocking_on_Door_Sound_Effect.mp3</mp3player><br />
<ref>Loud Knocking on Door Sound Effect. (2014). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 2<br />
| align="center"| Telephone Ring Repeat<br />
| align="center"| <br />
|-<br />
! scope="row"| 2<br />
| align="center"| Doorbell Rings<br />
| align="center"| <mp3player>File:Door_Bell_Sound_Effect.mp3</mp3player><br />
<ref>Door Bell Sound Effect. (2015). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 2<br />
| align="center"| Vase Shattering<br />
| align="center"|<mp3player>File:Glass_Vase_Shattering_Sound_Effect.mp3</mp3player><br />
<ref>Glass Vase Shattering Sound Effect. (2014). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 2<br />
| align="center"| ''Rio'' by Duran Duran <br />
| align="center"| <mp3player>File:Duran_Duran_-_Rio.mp3</mp3player><br />
<ref>Duran Duran - Rio. (2009). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
! scope="row"| 2<br />
| align="center"| House Music<br />
| align="center"| <mp3player>File:Duran_Duran_-_The_Reflex.mp3</mp3player><br />
<ref>Duran Duran - The Reflex. (2009). https://www.youtube.com/watch?v=o8sqSsV9-fA.</ref><br />
|-<br />
|} <br />
<br />
<br><br><br />
<br />
==Costumes and Hair and Makeup ==<br />
Costumes, hair and makeup are being based on 4 main characters in ''The Play That Goes Wrong''. The characters have hair, makeup, and costumes based on their attributes and the situations that they are in. <br />
<br><br />
<br />
{{Infobox<br />
|title = Annie <br />
|bodystyle = width:12em<br />
|image = [[File:unat.png|x360px|alt=Milestone Image]]<br />
|label1= Thanks to<br />
|data1= [[User:Nbloniarz|Natalie Bloniarz]]<br />
}}<br />
=== Annie === <br />
Annie is the company's stage manager who makes sure that the actors go on stage at the right time and that the whole backstage is taken care of. She can often be found around the stage trying to keep the show from falling apart. During the beginning of the show she can be seen fixing the broken set and she seems to be pretty well versed in the nuances of the stage and how to fix the stage. Her first costume would be her wearing a nondescript worn t-shirt and a pair of also worn jeans or overalls with a tool belt. This will give her the jack of all trades look. She would have little to no makeup on so as not draw any attention to her. Her hair would pulled up into either a ponytail or pigtails. Her second look (seen in the picture to the right) would be for when she has to take over the role of Florence Colleymoore due to an accidental head injury to the actress. They throw her on stage in the ill-fitting red flapper dress of Ms. Colleymoore, a slightly askew flapper wig right over top of her own hair with the ponytail or pigtails sticking out, and a hasty makeup job. The makeup is absolutely terrible and totally rushed. To achieve this look I first applied a base skin tone foundation and then added some contour on the cheeks to give them more definition. I put a darker concealer under the eye to give the impression of dark circles, which is the opposite of what is typically desired. The eyebrows were filled unevenly and eccentrically to show the haste in the makeup. The lips are smudged and overdone along with blush that covers too much of the cheek. Overall the look should scream overdone, rushed, and terrible, as seen in this picture.<br />
<br><br />
<br />
{{Infobox<br />
|title = Trevor <br />
|bodystyle = width:12em<br />
|image = [[File:mben.png|x360px|alt=Milestone Image]]<br />
|label1= Thanks to<br />
|data1= [[User: Bjsecino|Benjamin Secino]]<br />
}}<br />
=== Trevor ===<br />
<br />
Trevor is the company's lighting and sound operator who makes sure the lighting and sound cues go on during the right part of the script. He is a bit absent minded during the show and can be seen running around fixing things or missing his cues. During the show, he accidentally calls over his com to the audience his notes, which are noting the error on stage to the stage manager, so that the audience notices it even more. One can see him missing sound and lighting cues while he is looking at his phone. Trevor also loses his Duran Duran CD, which he plays as a sound cue by accident and the CD is found in the final scene instead of an important ticket. His demeanor shouts “I don’t care” and tiredness. For his costume, I would have him wear all black, which is the usual technical crew member's outfit. I would leave the actor's natural hair since it adds nothing to the show. His makeup would emphasize under eye bags and would be as natural as possible while highlighting all of the person’s facial flaws. I would have him either grow some stubble or draw it own. To achieve this look I would start with a base foundation of his skin color, stipple highlight, and contour in order to shape his face a little. To create the illusion of wrinkles I would take two different colors, dark and light, and have him wrinkle his forehead. In the crevasses, I would put the darker color and on the top put the lighter color. I would then use a makeup sponge to blend the colors to make the look more natural. To create the stubble on a clean shaven face I would start with a darker foundation around his jawline and then speckle black dots in that area. Then I would blend until I got the desired look. Trevor’s final look would be one of not caring and gross exhaustion. <br><br />
<br />
{{Infobox<br />
|title = Inspector Carter <br />
|bodystyle = width:12em<br />
|image = [[File:oben.png|x360px|alt=Milestone Image]]<br />
|label1= Thanks to<br />
|data1= [[User: Bjsecino|Benjamin Secino]]<br />
}}<br />
=== Inspector Carter (Chris) ===<br />
<br />
Chris is the actor who plays Inspector Carter during the show. Inspector Carter is an esteemed detective called to investigate the death of the healthy, wealthy, and soon to be married Charles Haversham. This show takes place during the 1920’s, so I decided that he should have the look of a 1920’s gentleman. For his costume, I will be taking inspiration from Sherlock Holmes and the quintessential gentleman of the 1920’s. So I would have him wear a pair of trousers, black leather shoes, white shirt, tie, and a long trench coat. This will give him the look of authority during a play that is quite literally falling apart at the seams. Inspector Carter’s hair, if possible, would be slicked back and combed with a part to one side. For the makeup, I would start out with a skin tone foundation and then highlight and contour his face to give him higher cheek bones to make him more proper looking. This would be smudged and blended with a makeup sponge. I would put some dark concealer inside his smile lines to make him look older and wiser. He would also have a small mustache, which could be modeled from Gomez Addams’ mustache. It would be drawn on by hand and then smudged with a brush. He needs to look prim and proper to add contrast to the lack of professionalism during the show. <br />
<br><br />
{{Infobox<br />
|title = Florence Colleymoore <br />
|bodystyle = width:12em<br />
|image = [[File:bnat.png|x360px|alt=Milestone Image]]<br />
|label1= Thanks to<br />
|data1= [[User:Nbloniarz|Natalie Bloniarz]]<br />
}}<br />
=== Florence Colleymoore (Sandra)===<br />
Sandra is the leading lady of the ''Murder at Haversham Manor'' and plays Florence Colleymoore , the soon to be married fiancé of the late Charles Haversham. Her style is of a 1920’s flapper girl who is very seductive and suggestive. She would have a red dress with a modest neckline and that comes down to the mid-calf. It should look kind of cheap looking and be paired with a short kitten heel and skin tone tights. Underneath the dress, she should wear spandex shorts due to the fact she gets knocked out by a door during the middle of the first act and gets carried off through a stage window in the most ungraceful way. The spandex will ensure that the audience does not see more than they paid for. Her second outfit will be when she comes on stage in the spandex and a bra trying to take back the roll from Annie the stage manager. It will be clear that they stripped Sandra of her dress and wig to give to Annie. The makeup for Sandra would start with a skin tone foundation blended with concealer under the eyes. Next, I would stipple highlight and shadow into the face’s peaks and valleys to give the face a more multidimensional look. It should be blended so it does not look splotchy. The eyebrows should be drawn on at a medium darkness, accompanied by a pale eyeshadow. Eye makeup would be finished off with mascara and black eyeliner. I would lightly brush blush onto the apples of the cheeks and finish the whole look off with red lipstick. She will also be wearing a dark haired wig that has a blunt and short flapper hairstyle. Her appearance is important to the play due to the fact that she is one of the only female actors in the ''Murder at Haversham Manor''. She needs to stand out, but also look natural next to the rest of the cast.<br />
<br><br><br />
<br />
==Poster & Promotion==<br />
[[Image:TPTGS Poster.jpg|thumb|right|x600px]]<br />
For promotion, I designed a poster that can be distributed through a variety of modes such as being hung up in the tube stations, hung around the West End, featured on online theater booking sites and social media. The design was meant to be simplistic and bold so it would catch people's attention and be easy to read quickly. I achieved this through high contrast colors and limiting the complexity of the poster. There are no small details or an abundance of colors to distract the eye from the message. The text is minimal, large, and easy to read. A small line of text can be added underneath the title to indicate the date without detracting from the title. That text would be white and in a basic font. The different elements of the poster are also based on themes of the show. To emphasize the theatrical aspects the font is similar to the one associated with Broadway, the page is framed by a theater marquee, and stage lighting casts a spotlight on the text. To emphasize the chaos of the show lights on the marquee are broken, half of the word "wrong" is falling down, one of the spotlights is broken and the other one is shining a bit too far right also casting more focus on the falling letters.<br />
<br><br><br />
<br />
=Conclusion=<br />
<br><br />
A theater production is so much more than just the actors. Without the production team, there would be no show. The acting is only just the surface of what goes into a show. When putting on a show, all aspects of the production must be closely considered. The set must allow maximum visibility to the entire audience, be a functional space and contribute to setting the tone of the show. Lighting must highlight both the set and actors and establish tone. The sound system must give every audience member clear, audible sound. Costumes and makeup should give a visual representation of the characters while maintaining functionality for the actors. Finally, the promotional team must ensure that there is an audience to see the show. "The Play That Goes Wrong" simultaneously demonstrates what to do and what not to do. The fictional theater group in the show creates an unstable, unsafe set, misplaces props and misses an actor with their spotlight among other mistakes. However, the show as a whole features many aspects done right by the real-life theater company. The sound system, while simple, is effective and special effects are carried out in a safe manner. They manage to have the second floor of the set collapse in a safe manner. The set design, through subtly creating an angle in the rear wall, allows for good visibility of the entire set. <br><br />
Future research may compare other productions of "The Play That Goes Wrong". Long-term research includes how theater practices and technology evolve from where they are today.<br />
<br><br><br />
<br />
=Attribution of Work=<br />
We all participated equally in the writing, research, and effort that was put into this large project. As a group, we went to see ''The Play that Goes Wrong'' and bought the play script to help mold the show into our own.<br />
<br><br />
==Katharine Conroy==<br />
In the background and deliverable, I wrote the sections on props, hair and makeup, and costumes. <br />
<br><br />
<br />
==Lauren Conroy==<br />
I wrote the abstract, introduction, lighting background, sound background, and lighting deliverable.<br />
<br><br />
<br />
==Justine Roy==<br />
I wrote the scenic background, promotions background, modern costuming practices, scenic deliverable, promotions deliverable, and conclusion.<br />
<br><br><br />
<br />
=References=<br />
<br><br />
<br />
<br />
<br />
<br />
<!--DO NOT COPY THE FEATURED CATEGORY CODE BELOW--><br />
[[Category:Featured Projects]]<br />
<!--ONLY LONDON HUA ADVISORS MAY USE THE FEATURED CATEGORY TAG ABOVE--></div>Kfconroyhttps://londonhuawiki.wpi.edu/index.php?title=Music_Theory_behind_Grunge_Music&diff=18820Music Theory behind Grunge Music2017-06-22T07:13:57Z<p>Kfconroy: </p>
<hr />
<div><br />
by [[User:Kfconroy|Katharine Conory]]<br><br />
<br />
{{Infobox<br />
|bodystyle = width:24em<br />
|image = [[File:piano-1655558_640.jpg|x450px|alt=Milestone Image]]<br />
|label2 = Music Theory behind Grunge music <br />
|data2 = royalty free image <br />
<br />
}}<br />
__TOC__<br />
<br />
<br />
=Abstract=<br />
The objective of this milestone is to take all that I have learned from my [[Grunge in London|Grunge in London]] Capstone to analysis the music under the lens of music theory. I hope to be able to see what grunge music has to offer by way of harmony, rhythm, dynamics, and form, which are some of the elements of all music. For my deliverable, I am taking all that I learned from this analysis of grunge music from a music theory background to create my own guide to what a grunge song would contain in the way of harmony, rhythm, dynamics and form with examples of what I would do. <br> <br><br />
For this project, I am drawing back on my past experience with music theory and my violin background. This is slightly challenging due to the fact that harmony for a violin is much simpler for a violin than a guitar. In high school, I took several music classes and was in both chorus and band. I hope to gain more knowledge about music theory and help others understand music as well. <br />
<br><br><br />
<br />
=Introduction=<br />
This project is meant to introduce those who enjoy music to the music theory or backbone of music that makes it sounds a certain way or gives it a certain emotion. Music is defined by its elements, which allows a certain genre of music sounds different than another. So, I distinguished four important elements of music and did an in-depth analysis of each with a comparison of grunge to popular rock music of that time. From that analysis, I then produced a guide to producing gunge songs from a satirical background with examples of what I would do. <br> <br><br />
In my research, I found that grunge was more covered as a social and ethical topic with little being covered about the music itself. It was difficult to find much on the elements of music in respect to the grunge genre itself, but I did find some info on it under the umbrella of alternative. I discovered that its sound and style was primarily based off of the music’s harmony with the rhythm, form, and dynamics still very important to its overall sound. But, there was no real pattern to the music. Together in had a unique sound due to the harmonic practices, but what really kept the genre a genre was the music’s attitude and the taboo topics it tried to address. Each artist has its own unique style and sound but they all fell into the same genre. This project needs more research to fully grasp the musical differences between grunge music and the popular rock of the time. <br />
<br><br><br />
<br />
=Section 1: Background=<br />
Grunge was a style choice, a cultural movement and most importantly a music style that appeared in the late 1980’s to the early 1990’s, which songs had focused on topics of a taboo nature such as alienation, depression, and suicide. The movement focused on using their music to enlighten those around them about the problems that they were suffering from, which resonated very well with the youth who were also facing many of those issues. It was very popular and topped many of the more well-known artists. It had a new an appealing sound that differed from the rock and pop music of day. Grunge music is considered to be a sub-genre of rock with heavy overlap with other rock subgenres such as alternative, metal, and punk <ref> STRONG, C. (2016). GRUNGE: music and memory. S.l.: ROUTLEDGE. </ref>.The music contained a dirty and raw sound guitar sound, which gave the genre its name. This music has a significant effect on the culture of the Seattle area where is was started, which is no surprise due to the fact that music has always been a major component of cultural changes in society. There have been many scholarly articles citing its importance and during this time there was a major shift in attitudes towards the world and the people who lived in it, which emphasized the feelings correlated to alienation, depression, and suicide. However one may ask how music, subtracting the lyrics, could evoke such feelings, which in fact brings me to the focus of this capstone; the music theory behind grunge music that gave it its unique sound. <br><br> <br />
The music theory behind grunge music will explain how this music became so unique, but this calls into question of the definition music. In the most literal idea, one can see music as “vibrations in the air that are observed by us and then interpreted as sounds. These sounds play out over time, meaning that music is, therefore, sound over time” <ref> Samama, L., & Clements, D. (2016). What is music? In The Meaning of Music (pp. 27-31). Amsterdam University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/j.ctt1b9x1ts.5</ref>. However, that is way too literal and would infer that all sounds are music like all paintings are works of art. Music is way more sophisticated and can be seen as “multi-dimensional (and a) multimedia phenomenon’’ <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017.</ref>. Therefore music is grouped into seven different elements, which are rhythm, dynamics, melody, harmony, tone color, texture, and form to help identify the key differences between grunge music and say rap. These elements added to the sound and identity of the genre, so much so it stood out from the rest of the alternative genre, which grunge was a subgenre of, during that era. Below I have chosen 4 elements I feel distinguished the grunge genre of from that which was popular during the 1990’s and created the special sound to the music that allowed the artists to express their emotions. <br><br> <br />
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==Musical Elements ==<br />
===Harmony === <br />
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Harmony is very important to the creation of music, due to the fact it the way notes are played in relation to each other. This is a very technical and complex element of music that can be fairly hard to understand, so it is important to start at the beginning. There are seven notes in all of the music, not including all of the flats and sharps, A, B, C, D, E, F, G and these are the building blocks on which songs can then be built. The full list of notes which contain all the flats (b) and sharps (#) starting at A is '''A''', A#/Bb, '''B''', C, '''C#/Db''', '''D''', D#/Eb, '''E''', F, '''F#/Gb''', G, '''G#/Ab''', '''A''' and follows a pattern of 2212221, which gives a scale of A major. The pattern is followed by the bolded letters produces A, B, C#, D, E, F#, G#, and A as the A Major Scale. From the scale, one can then produce all of the chords that can be made from that key. A chord is several notes played together to that are separated by thirds, which produce notes that complement each other very well. The chords for an A major key would contain AC#E I (major), BDF# ii (minor), C#EG# iii (minor), DF#A IV (major), EG#B V (major), F#AC# vi (minor), G#BD vii0 (diminished). To form these 3 note chords, one takes the scale and starts at the first note in the scale, which in our case is A. Then, skip the next note, B, and chose C# to do this again for the third and last note of the chord. Your final chord will be AC#E, which is a major chord and they you do it for B, C#, etc. for the rest of the chords until you come back to your original note A. The chords are in a pattern of major, minor, minor, major, major, minor, and diminished, which are shown by the capitalized Roman numerals rather than the lower case ones and the 0 at the end means diminished. Another name this goes by is diatonic harmony and all this is the way notes relate with each other in a certain key. All of this can be replicated for all of the other keys in music to get chords. These chords then can be played in succession after one another and produce a chord progression. Some commonly used chord progressions in the key of A are ADE (I – IV- V) and BEA (ii-V-I). These chords and chord progression are what creates the harmony in the song and they are often used in term of how harsh they sound. The harshness of chords is quantified into dissonance and consonance. Dissonance is a very harsh sounding harmony and its chords known for creating tension in a piece. Consonance is a smooth sounding harmony that creates consonant chords, which resolves tension created by the dissonant chords. Chords are very important to music because it truly creates the mood of the music. More dissonant sounding music sounds almost unstable, eerie and sad. A really good example is Mozart’s Quartetto K. 465 "delle dissonanze". One can hear the very dissonant beginning and then throughout the rest of the piece, one can hear how dissonance is resolved by consonance (The Elements Of Music, 2017, p. 3). <htmltag tagname="iframe" id= width="200" height="150" src="https://www.youtube.com/embed/08uY0-ehL-w" frameborder="0" allowfullscreen></htmltag> <br />
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In grunge music, harmony played a large part in creating its aesthetic and sound. This music was very powerful and was known to use “power chords” (McDonald, 2000, p.355) as a “set of harmonic practices that rock musicians, particularly those who participate in the domain of guitar-oriented 'alternative' rock, have been using” (McDonald, 2000, p.355) <ref> McDonald, C. (2000). Exploring modal subversions in alternative music. Popular Music, 19(3), 355-363. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/853641 </ref>. These musicians were trying to break the mold of rock and alternative music so they tried new practices such as distorting the guitar’s sounds and choosing unique chord combinations. An example of this was the change of the power chords, which are normally fifths or fourths (McDonald, 2000, p.356). However, do to the heavy guitar distortion, created by overloading the signal into the amplifier, it created a more complex sound that allowed more sound to come from the notes played. This distortion allowed chords done in thirds to have a richer and fuller sounds and as a byproduct created a very dissonant sound (Biamonte, 2010, p. 97). Another in interesting part to grunge’s harmony was its use of “third or cross relations” (McDonald, 2000, p.357) that allows songs that were written in the key of A major and as we determined before C# would be the C note used, however in grunge music the C would incongruently change a minor third to C5 or Cb. This is what author Chris McDonald calls “modal subversion” (McDonald, 2000, p.357). It used constantly in these songs and an example of it would be in “Smells like Teen Spirit” by Nirvana. In this song the key is in F minor and in that scale A is natural but in “Smells like Teen Spirit” the A modulates to Ab (Osborn, 2013, 31) <ref> Osborn, B. (2013). Subverting the Verse–Chorus paradigm; terminally climactic forms in recent rock music. Music Theory Spectrum, 35(1), 23-47. doi:10.1525/mts.2013.35.1.23 <br />
</ref>. This a common theme in many grunge songs and gives its unique sounds, aesthetic, and emotion. <br />
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=== Rhythm ===<br />
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In music, the rhythm of a song is the time in which a song is played. This can be seen when a person is tapping one’s foot to the beat. The rhythm of the song is very important in creating the emotions of the song due to the fact that it determines how fast the piece is going to be. Encompassed in rhythm are sub-topics of duration, tempo, and meter, which helps the listener and musician to follow the structure of the piece. Rhythm tends to be more the technical part of the song but it carries much importance because without it the song would be a mess of lyrics and instruments without direction. So the duration is the length of time between each note and silence. It is used to bring attention to a certain section of the song because a very long note or silence is jarring to the listener. A silence can bring emphasis to the next note and add a complexity to the tempo of the song. The meter of the song is the repetition of accents and stresses that are arranged into the recognizable beat of the song. In a song, the accented notes tend to be the first note of the measure, however, to create more drama many artists utilize syncopation or the putting of accents on off-beats. The meter is emphasized by the song’s tempo or speed at which the beat is played. It is often known as beats per minute (bpm). The tempo of the song determines the level of excitement and mood of the song. It has been said by Gow that “the time-pattern upon his attention must be the excuse for the common conception of rhythm as the emotional element in music” (Gow, 1915, p. 637) or in layman terms. The pattern of sound, silence, and speed adds significantly to the emotions and feeling drawn from the piece so it is imperative that the artist uses the correct rhythm and tempo for the desired effect. An example of this would be how slow blues music tends to be around the 60 bpm and rock and roll music tends to be about 175 bpm. (Gow, 1915, p. 637- 642)<ref> Gow, G. (1915). Rhythm: The Life of Music. The Musical Quarterly, 1(4), 637-652. Retrieved from http://www.jstor.org/stable/738071 </ref> <br />
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Grunge music is all about the aesthetic of the music and many times it is difficult to derive the meaning of the lyrics due to the vocal quality or symbolic meaning of the lyrics. So it’s imperative to set the right tone via the rhythm because without that the song could be changed from a very dark and emotional piece to one that sounds happy and light. Therefore, the duration of the notes and silences have to create drama and angst. The meter must accentuate the right beat and word of the lyrics to make them pop. One consistency round most grunge music is its timed meter, which was 4/4 time or four beats per measure. The emphasis on notes tended to be inconsistent though because it was really dependent on the lyrics. Some songs did use accents of off-beats to draw more attention to one part or another. Meter also creates the structure to the song. Without that the song has very similar and boring notes with no structure. The tempo has to give the song the right attitude. So in grunge music artists wanted a tempo to reflect sadness and depression that they often felt, but they but they wanted to be interesting and attention grabbing. So many artist chooses tempos from around 90-120 (bpm) there was no exact range to the tempos. It was really up to the musician’s ear. However, one can tell that the artist chose the right tempo, if the emotions were portrayed foremost in the music. A good example would be to speed up or slow down a grunge song.<br />
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When that is done, ignoring the higher pitch of Cobain's voice, it is obvious that one will not get the same emphasis on themes of the music leaving the song useless to the artist. The grunge artist needed the aesthetic of angst and pain to drip from the lyrics to get his point across. <br />
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=== Dynamics ===<br />
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The dynamics of a song is the loudness and or softness at which the song is played at. A song can be played very loudly, fortissimo, or very softly, pianissimo, and it would create a different interpretation of the song. Some genres of music tend to produce quieter music while others like to blast their audience with their music. An artist can also have a range of volumes with many choosing sections of their song to be quieter to emphasize the words or the music’s complexity and others sections being softer to portray emotions. Sometimes the artist wants to create a buildup of tension in the song so he or she will use a crescendo, getting louder, or a decrescendo, getting softer to achieve it. Another part of dynamics, which was touched on in rhythm, is accenting a note or “leaning into a note” <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017. </ref> and it creates a unique sound. It is important to use dynamics because it keeps the music interesting. A lovely example that many people have probably heard before would be in Richard Strauss's Also Sprach Zarathustra, Op. 30. <br><br />
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It starts our pianissimo and then crescendos to fortissimo until it is absolutely blaring. These dynamics are meant to grab the attention of the audience and awaken anyone who has fallen asleep during the very quiet part. Dynamics are an important part of the music creation process due to the fact that a combination of these dynamics creates the genre's signature style. Hardcore rock is known to bombard their audience with sound while other genres such as country tend to have a moderate volume. <br />
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Dynamics is another really important element in grunge music because it can be used as an emphasis on particular parts of the song. The song could go from a verse of quiet reflection to a chorus of raging anger. This element is interlinked with all of the other elements to create the song the way that artist meant to portray it. Many of the grunge artists use dynamics to emphasize the themes of the song. So while many songs of the grunge genre do tend to vacillate between very loud and quiet, not every song does. It all depends on the themes and emotions of the songs. An example of the differences would be comparing the dynamics of Black Hole Sun by Soundgarden and Glycerine by Bush. They are both classified under the genre of grunge music, but they have totally different dynamics. In Black Hole Sun, the first verse starts out pretty quiet to emphasize the almost euphoric nature of words and the invisibility the singer feels. Then in the chorus, there is a large increase in volume which tries to capture the anger and pain of his invisibility. However, in Glycerine, the verse starts out pretty quiet and has a mournful tone and it crescendos ever so slightly into the chorus which is still mournful plus a bit remorseful also. The dynamics are used in grunge as an emphasis on certain feelings and emotions and though some do have a pattern of a quite verse and loud chorus some use other dynamics to get their point across. <br />
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=== Form ===<br />
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In music, the element of form is a combination of the repetition, contrast, and continuity that creates a song’s uniqueness. The form is very dependent on the other elements of music because it is the way the music is arranged. There is a mixture of musical ideas that are carefully arranged to create the meaning behind the music, which is illustrated when the chorus, speaking both lyrically and instrumentally, is repeated. To differentiate the diversions in music, letters such as A, B, C, are used. This is used determine the slight variation in musical patterns. Repetition is often utilized in form to set the theme of the song. This is seen when the chorus is repeated or the verse lyrics change and music stays the same. Repetition in music is known to create continuity and is usually done with a catchy chorus. Contrarily when there is a change or contrast in music, it is often used to note a shift in mood. The form includes a myriad of types including strophic, binary, verse/chorus song, and ternary forms. These types of forms are derived from the repetition, contrast, and continuity referred to previously. The strophic form is when the same music is repeated over and over for several verses of music. This is the most basic form, which lacks contrast and is all repetition. The message the song is trying to portray is usually very elementary. In the binary form, there are two parts. It uses contrast to highlight the question answer music phrasing between the similar phrasing contrasting section. A combination between the binary and strophic forms is the Verse/ Chorus Song form. It alternates between the storytelling verses, which contain different lyrics each verse, and the recurring chorus. <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017</ref>. It creates the feeling of familiarity and allows for many ideas and feelings to be told and then reiterated in the chorus, which is very important in grunge music. The last form being covered is the ternary from. It is a three-part form that has a repletion of the first verse, with different lyrics, which then processes to the chorus and returns back to the theme of the first verse. The form is very diverse in music and can evoke different emotions. So one can see how important it is to grunge music because of its ability to highlight the different parts of the song through repetition, contrast, and continuity. <br />
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Grunge music is primarily about emotions and social issues that plagued many of the youth during that time, so it is very important to have the music bring attention to these issues through the phrasing of the chorus and verses. Songs In the 1990’s many rock songs followed a verse-chorus form, which Brad Osborn likes to call the “verse-chorus paradigm” (Osborn, 2013, p. 23). <ref> Osborn, B. (2013). Subverting the Verse–Chorus Paradigm: Terminally Climactic Forms in Recent Rock Music. Music Theory Spectrum, 35(1), 23-47. doi:10.1525/mts.2013.35.1.23 </ref> or in less layman terms a verse-chorus pattern. Osborn then quotes John Covach who says “In a verse-chorus [form]...the focus of the song is squarely on the chorus...[T]he verses serve primarily to prepare the return of the chorus’’ (Osborn, 2013, p. 23) and this makes the song sound like it’s using the chorus as the main bringer of emotion to the song. Many grunge songs, due to the fact that they are part of the rock genre, did use this form. It allowed many of the emotions of the first verse to be realized and then an overall feeling of dissatisfaction to be released about these feelings. This can especially be seen in “Heart-Shaped Box” by Nirvana, which starts with verse 1 <div style="text-align: center;"> She eyes me like a Pisces when I am weak <br><br />
I've been locked inside your heart-shaped box for weeks <br><br />
I've been drawn into your magnetar pit trap trap <br><br />
I wish I could eat your cancer when you turn black<ref> https://play.google.com/music/preview/Ttdyvwmcelupwuxwf6fsabw2qwq?lyrics=1&utm_source=google&utm_medium=search&utm_campaign=lyrics&pcampaignid=kp-lyrics </ref> </div><br>. The music plays on the use of the verse-chorus form to highlight the emotions of feeling trapped and helpless, which are then built on during the chorus <div style="text-align: center;"> Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice <br><br />
Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice<br><br />
Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice, your advice<ref> https://play.google.com/music/preview/Ttdyvwmcelupwuxwf6fsabw2qwq?lyrics=1&utm_source=google&utm_medium=search&utm_campaign=lyrics&pcampaignid=kp-lyrics </ref> </div><br>. The chorus is emphasizing the trapped feeling the singer is feeling, which he compares to debt. He feels that he is ever in debt and trapped. The next verse, which is musically a mirror of the first verse, but the lyrics speak of the great helpless he feels. This form allows great emphasis on the chorus and it also climaxes at the end when the last chorus is repeated. However, not every grunge song contained this form. In Glycerine by Bush, the song has a much different form, but still allows the emotions of sorrow and regret be portrayed to the audience. <br />
It’s all about the emotions being reached. They did not need to use this form to release and tell all of the audience their problems. It can be reached just as well with other songs <br />
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=Section 2: Elements of Writing a Grunge Song=<br />
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== A Satirical Way of Writing a Grunge Song==<br />
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So now that we have a solid understanding of what harmony, rhythm, dynamics, and form are and how they are used in grunge music, we are now ready to write a song that emphasizes the true elements of grunge music. Here we are going to go step by step and identify how to create one of these grunge songs. We will be looking back at both our background and analysis of grunge songs to help us determine the best way to make a number one seller like “Smells Like Teen Spirit” by Nirvana. If one is not familiar with a lot of grunge music, I would suggest looking at my page [[Grunge in London|Grunge in London]]. That page will give you more background and information about the grunge era and includes some of its iconic songs from artists both from America and London. The purpose of this is to create a light-hearted and funny guide that highlights the both the technical aspects of grunge music and its unique sound that was learned in the background. While also pointing out repetitive nature of the themes, its inaudible lyrics, and their creepy videos. This is all made in good fun and is not meant to diminish any of the personal problems that these singers faced. They had very serious problems that some were not able to overcome and many did use music as an outlet to express their emotions. But for our purposes, we are focusing more on the teen angst portion, which contains more insignificant problems like Wi-Fi buffering or not having the latest video game, which is trying to fit in with this current generation of teenagers in a world of technology. From this, we will produce steps to creating a chart-topping, show-stopping, musical genius of a grunge song that has the consideration of the elements of music we analyzed. <br />
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==Drawing Inspiration ==<br />
Grunge music was very much known for its aesthetic and its ability to connect with the youth of generation x or those born in the 1990’s. It covered many “distasteful” topics such as depression, suicide, and alienation, which many grunge artists experienced and fought a daily battle to overcome. Today, many still listen to grunge music and find it comforting to know that there were others out there going through the same struggles of feeling forgotten, rejected and lost. But for those who feel that grunge music does not fit in with their technology filled life, they may want to create a grunge song that covers a topic they feel creates negative feelings for them. So to get into the proper mindset to write this song, one must dig deep into the recesses of his or her feelings of teen angst to dig out some sort of darker emotions. May I suggest a YouTube video of a pug who can’t roll over, not having enough phone data, or trying to watch the finale of your favorite show but the Wi-Fi keeps buffering the video? Think of something that is basically insignificant to the rest of the world and only really matters to you. A bad selfie would qualify as a good one also but may need to be prefaced that it was posted to social media and your crush may see it. Horrifying I know! Once you have found the feelings you would like to express in your song, start thinking of how you would like to portray those emotions and what you would like the overall sound to be. These feelings will be the base of your song and all of your further decisions will be based on the mood created by these emotions. I have personally dug out from the recesses of my long-buried teen nerdy angst the feeling of anxiety and sorrow when my code wouldn’t compile. <br><br />
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== Emotion and Harmony ==<br />
Your next step is choosing how you would like to portray that to your listeners. I would do this by making it sound like the world will end if the code doesn’t work and that all will be lost. Don’t be afraid to be over dramatic. That’s what attracts people to the music is the drama and emotion. Right? Now that that has been cleared up, the actual song can now be written. One must start with the most crucial part first, the harmony. When done right, the harmony helps to create the emotion of the music. In grunge, musicians experimented with a variety of different techniques and ideas. They wanted to step out of the norm of alternative music. So, they experimented the chords of the music and found that when they distort the note a great deal it produces a much richer sound that reaches higher. Therefore, much of grunge music is written in 3 note chords which stem from a key signature. So, the first part of creating your harmony is deciding what key you would like your song, which you could do by picking you favorite note. I will be arbitrarily picking the key of F major. If you have a favorite key pick that one; it will make it more personal to you. Next, for choosing your chord progressions pick whatever sounds good together. Also, make sure to have at least one modulation of a note in there. It is a grunge classic and a must if you want your song to be grunge. This will create the dissonance you are looking for and will add to any emotion ranging from hatred to anxiety. Wow look at that, after playing with chords for a few hours, you will be able to get some chord progressions that you like. At this stage, you will also have to decide what instruments you would like to use. You honestly can’t go wrong with the grunge classic of guitar, bass guitar and drum set. If you are feeling fancy you could add another instrument to complement your theme and mood.<br><br />
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== Final Steps ==<br />
After your harmony is all figured out, which will probably take a while, you will need to figure out your rhythm. The rhythm as stated before is really based on the emotion of the song so you’re going to need to play around with the speeds until you feel it has reached the right mood to represent the emotions you are trying to portray. Many grunge pieces have a range from 90-120 (bpm), but feel free to choose one that best suits the song. Dynamics is another important part of the piece do to that fact it determines what sections are loud and what sections are softer. Many times gunge utilized dynamics to create a call and response type of sound in the song. It also had the power to create tension in a song so it may work for your song if that is what you are striving for. One may also put accents on different parts of the song where you want to highlight a lyrics. The last thing you’ll need is the form of the song or how it the song is constructed both lyrically and musically. It is all about the repetition of the song of the chorus and its verses. The classic rock and grunge form of the 1990s was the verse-chorus form that focused its attention to the chorus. This is a really nice form for if you are highlighting your chorus. Though all grunge songs did not use this form, they also achieved their aesthetic by used other forms. So feel free to look into other forms that may make your song more grunge. The last requirement to writing a grunge song is lyrics! All grunge songs contained lyrics that expressed their emotions, so make your lyrics emotional and full of angst. As a bonus, have your singer sing very muffled and with almost unintelligible manner. It seemed really popular with bands such as Nirvana and Radiohead. You can't really hear the lyrics but you still felt a deep emotional connection to them. Any of these steps can be done in any order, so maybe start with the harmony or lyrics and form. It's really up to you. Much of the genre was experimentation held together by angst and great chords. And there you have it! You have created the next “Smells Like Teen Spirit”. Now go out and share your amazing song with the world, brace the world for its awesomeness! <br />
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= Musical analysis of songs =<br />
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Taking what has been learned about harmony, rhythm, dynamics, and form and its importance to grunge music now lets look at some songs created in the "grunge" music style. Keep in mind that you're just taking a small slice of examples and that this table isn't all-encompassing. Also note that some of the harmony listed is a general overview of the keys/tonalities explored. Find out more about grunge music and its history [[Grunge in London|here]]. <br />
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{| class="wikitable" width="80%"<br />
|-<br />
! scope="row"| Grunge Music of the Late 1980's - Mid 1990's<br />
|-<br />
! Musical Elements <br />
! Heart Shaped Box <br />
! Black Hole Sun <br />
! Creep<br />
! Glycerine <br />
! Man in the Box<br />
|-<br />
! scope="row"| Artist <br />
| align="center"| Nirvana <br />
| align="center"| Soundgarden <br />
| align="center"| Radiohead<br />
| align="center"| Bush <br />
| align="center"| Alice in Chains <br />
|-<br />
! scope="row"| Rhythm<br />
| align="center"| <br />
* Time Signature: 4/4<br />
*Tempo: Moderately (108 - 120 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: 120 bpm<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: (90-93 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: Moderately (112-116 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: Moderately (107-109 bpm)<br />
|-<br />
! scope="row"| Harmony<br />
| align="center"| <br />
* Key: A minor<br />
*Major Chords: A5, F5, D5/ A, F5, D7<br />
*Chord Progressions: A5, F5, D5, A, D7<br />
| align="center"|<br />
* Key: F major<br />
*Major Chords: Gsus, G6, Bb6, F5, Em<br />
| align="center"|<br />
* Key: G major<br />
*Major Chords: G, B, C, Cm<br />
*Chord Progressions: G, B, C, Cm<br />
| align="center"|<br />
* Key: F major<br />
*Major Chords: F, C5, D5, Bb5<br />
*Chord Progressions: F, C5, D5, Bb5<br />
| align="center"|<br />
* Key: E minor <br />
* Major Chords: Em, E5, G, D, A<br />
*Chord Progressions: G5 G6 G5 G6 C E5<br />
|-<br />
! scope="row"| Dynamics <br />
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*quite verse and roaring chorus <br />
| align="center"|<br />
*quite verse and roaring chorus <br />
| align="center"|<br />
*quite verse and roaring chorus <br />
*crescendo to chorus <br />
*decrescendo to verse <br />
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*quite crescendo loud moderate level<br />
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*moderate <br />
|-<br />
! scope="row"| Form <br />
| align="center"| <br />
*verse/chorus song form <br />
| align="center"|<br />
*verse/chorus song form <br />
| align="center"|<br />
*verse/chorus song form<br />
| align="center"|<br />
* verse/chorus/ bridge form <br />
| align="center"|<br />
*ABABB Form <br />
|- <br />
|}<br />
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=Conclusion=<br />
<br><br />
In this project, I did an analysis of music theory from the point of view of grunge music. Music, in general, is so incredibly versatile with its ability to change one element to change the whole song and its intentions. All of the elements of music are important to delivering the music’s message. So I decided to look at grunge music though four of the elements of music to give an in-depth analysis on how these elements create the grunge sound. I also looked for ways the elements of music tied the whole genre together and gave it its particular sound. Grunge music was a unique genre that popped up as a sub-genera of alternative music, so I wanted to see what made it stand out from the rest. I determined that the genre itself was notable for its emotional connection to the music. The artists took advantage of rhythm, form, dynamics, and harmony to fit their feelings of depression, angst, and anger. Most notable they changed the way chords were heard by distorting the music’s sounds. It created a fuller sound and changed the chord progressions. They were very experimental and passionate about their music and led me to a “pattern” in their music, which was that it had to be full of emotion and it had to have distortion of chords that allowed them to modulate certain notes. I was then able to play off of this pattern to create a satirized guide to creating grunge music. In the future, I would like to see more research done on patterns in grunge music because this music created a generation and still inspires many today. <br />
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=External Links=<br />
[[Grunge in London| Grunge in London]]<br />
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=References=<br />
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[[Category:Music Projects]]<br />
[[Category:2017]]<br />
<br><br></div>Kfconroyhttps://londonhuawiki.wpi.edu/index.php?title=Music_Theory_behind_Grunge_Music&diff=18818Music Theory behind Grunge Music2017-06-22T07:12:43Z<p>Kfconroy: </p>
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by [[User:Kfconroy|Katharine Conory]]<br><br />
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=Abstract=<br />
The objective of this milestone is to take all that I have learned from my [[Grunge in London|Grunge in London]] Capstone to analysis the music under the lens of music theory. I hope to be able to see what grunge music has to offer by way of harmony, rhythm, dynamics, and form, which are some of the elements of all music. For my deliverable, I am taking all that I learned from this analysis of grunge music from a music theory background to create my own guide to what a grunge song would contain in the way of harmony, rhythm, dynamics and form with examples of what I would do. <br> <br><br />
For this project, I am drawing back on my past experience with music theory and my violin background. This is slightly challenging due to the fact that harmony for a violin is much simpler for a violin than a guitar. In high school, I took several music classes and was in both chorus and band. I hope to gain more knowledge about music theory and help others understand music as well. <br />
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=Introduction=<br />
This project is meant to introduce those who enjoy music to the music theory or backbone of music that makes it sounds a certain way or gives it a certain emotion. Music is defined by its elements, which allows a certain genre of music sounds different than another. So, I distinguished four important elements of music and did an in-depth analysis of each with a comparison of grunge to popular rock music of that time. From that analysis, I then produced a guide to producing gunge songs from a satirical background with examples of what I would do. <br> <br><br />
In my research, I found that grunge was more covered as a social and ethical topic with little being covered about the music itself. It was difficult to find much on the elements of music in respect to the grunge genre itself, but I did find some info on it under the umbrella of alternative. I discovered that its sound and style was primarily based off of the music’s harmony with the rhythm, form, and dynamics still very important to its overall sound. But, there was no real pattern to the music. Together in had a unique sound due to the harmonic practices, but what really kept the genre a genre was the music’s attitude and the taboo topics it tried to address. Each artist has its own unique style and sound but they all fell into the same genre. This project needs more research to fully grasp the musical differences between grunge music and the popular rock of the time. <br />
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=Section 1: Background=<br />
Grunge was a style choice, a cultural movement and most importantly a music style that appeared in the late 1980’s to the early 1990’s, which songs had focused on topics of a taboo nature such as alienation, depression, and suicide. The movement focused on using their music to enlighten those around them about the problems that they were suffering from, which resonated very well with the youth who were also facing many of those issues. It was very popular and topped many of the more well-known artists. It had a new an appealing sound that differed from the rock and pop music of day. Grunge music is considered to be a sub-genre of rock with heavy overlap with other rock subgenres such as alternative, metal, and punk <ref> STRONG, C. (2016). GRUNGE: music and memory. S.l.: ROUTLEDGE. </ref>.The music contained a dirty and raw sound guitar sound, which gave the genre its name. This music has a significant effect on the culture of the Seattle area where is was started, which is no surprise due to the fact that music has always been a major component of cultural changes in society. There have been many scholarly articles citing its importance and during this time there was a major shift in attitudes towards the world and the people who lived in it, which emphasized the feelings correlated to alienation, depression, and suicide. However one may ask how music, subtracting the lyrics, could evoke such feelings, which in fact brings me to the focus of this capstone; the music theory behind grunge music that gave it its unique sound. <br><br> <br />
The music theory behind grunge music will explain how this music became so unique, but this calls into question of the definition music. In the most literal idea, one can see music as “vibrations in the air that are observed by us and then interpreted as sounds. These sounds play out over time, meaning that music is, therefore, sound over time” <ref> Samama, L., & Clements, D. (2016). What is music? In The Meaning of Music (pp. 27-31). Amsterdam University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/j.ctt1b9x1ts.5</ref>. However, that is way too literal and would infer that all sounds are music like all paintings are works of art. Music is way more sophisticated and can be seen as “multi-dimensional (and a) multimedia phenomenon’’ <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017.</ref>. Therefore music is grouped into seven different elements, which are rhythm, dynamics, melody, harmony, tone color, texture, and form to help identify the key differences between grunge music and say rap. These elements added to the sound and identity of the genre, so much so it stood out from the rest of the alternative genre, which grunge was a subgenre of, during that era. Below I have chosen 4 elements I feel distinguished the grunge genre of from that which was popular during the 1990’s and created the special sound to the music that allowed the artists to express their emotions. <br><br> <br />
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==Musical Elements ==<br />
===Harmony === <br />
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Harmony is very important to the creation of music, due to the fact it the way notes are played in relation to each other. This is a very technical and complex element of music that can be fairly hard to understand, so it is important to start at the beginning. There are seven notes in all of the music, not including all of the flats and sharps, A, B, C, D, E, F, G and these are the building blocks on which songs can then be built. The full list of notes which contain all the flats (b) and sharps (#) starting at A is '''A''', A#/Bb, '''B''', C, '''C#/Db''', '''D''', D#/Eb, '''E''', F, '''F#/Gb''', G, '''G#/Ab''', '''A''' and follows a pattern of 2212221, which gives a scale of A major. The pattern is followed by the bolded letters produces A, B, C#, D, E, F#, G#, and A as the A Major Scale. From the scale, one can then produce all of the chords that can be made from that key. A chord is several notes played together to that are separated by thirds, which produce notes that complement each other very well. The chords for an A major key would contain AC#E I (major), BDF# ii (minor), C#EG# iii (minor), DF#A IV (major), EG#B V (major), F#AC# vi (minor), G#BD vii0 (diminished). To form these 3 note chords, one takes the scale and starts at the first note in the scale, which in our case is A. Then, skip the next note, B, and chose C# to do this again for the third and last note of the chord. Your final chord will be AC#E, which is a major chord and they you do it for B, C#, etc. for the rest of the chords until you come back to your original note A. The chords are in a pattern of major, minor, minor, major, major, minor, and diminished, which are shown by the capitalized Roman numerals rather than the lower case ones and the 0 at the end means diminished. Another name this goes by is diatonic harmony and all this is the way notes relate with each other in a certain key. All of this can be replicated for all of the other keys in music to get chords. These chords then can be played in succession after one another and produce a chord progression. Some commonly used chord progressions in the key of A are ADE (I – IV- V) and BEA (ii-V-I). These chords and chord progression are what creates the harmony in the song and they are often used in term of how harsh they sound. The harshness of chords is quantified into dissonance and consonance. Dissonance is a very harsh sounding harmony and its chords known for creating tension in a piece. Consonance is a smooth sounding harmony that creates consonant chords, which resolves tension created by the dissonant chords. Chords are very important to music because it truly creates the mood of the music. More dissonant sounding music sounds almost unstable, eerie and sad. A really good example is Mozart’s Quartetto K. 465 "delle dissonanze". One can hear the very dissonant beginning and then throughout the rest of the piece, one can hear how dissonance is resolved by consonance (The Elements Of Music, 2017, p. 3). <htmltag tagname="iframe" id= width="200" height="150" src="https://www.youtube.com/embed/08uY0-ehL-w" frameborder="0" allowfullscreen></htmltag> <br />
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In grunge music, harmony played a large part in creating its aesthetic and sound. This music was very powerful and was known to use “power chords” (McDonald, 2000, p.355) as a “set of harmonic practices that rock musicians, particularly those who participate in the domain of guitar-oriented 'alternative' rock, have been using” (McDonald, 2000, p.355) <ref> McDonald, C. (2000). Exploring modal subversions in alternative music. Popular Music, 19(3), 355-363. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/853641 </ref>. These musicians were trying to break the mold of rock and alternative music so they tried new practices such as distorting the guitar’s sounds and choosing unique chord combinations. An example of this was the change of the power chords, which are normally fifths or fourths (McDonald, 2000, p.356). However, do to the heavy guitar distortion, created by overloading the signal into the amplifier, it created a more complex sound that allowed more sound to come from the notes played. This distortion allowed chords done in thirds to have a richer and fuller sounds and as a byproduct created a very dissonant sound (Biamonte, 2010, p. 97). Another in interesting part to grunge’s harmony was its use of “third or cross relations” (McDonald, 2000, p.357) that allows songs that were written in the key of A major and as we determined before C# would be the C note used, however in grunge music the C would incongruently change a minor third to C5 or Cb. This is what author Chris McDonald calls “modal subversion” (McDonald, 2000, p.357). It used constantly in these songs and an example of it would be in “Smells like Teen Spirit” by Nirvana. In this song the key is in F minor and in that scale A is natural but in “Smells like Teen Spirit” the A modulates to Ab (Osborn, 2013, 31) <ref> Osborn, B. (2013). Subverting the Verse–Chorus paradigm; terminally climactic forms in recent rock music. Music Theory Spectrum, 35(1), 23-47. doi:10.1525/mts.2013.35.1.23 <br />
</ref>. This a common theme in many grunge songs and gives its unique sounds, aesthetic, and emotion. <br />
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=== Rhythm ===<br />
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In music, the rhythm of a song is the time in which a song is played. This can be seen when a person is tapping one’s foot to the beat. The rhythm of the song is very important in creating the emotions of the song due to the fact that it determines how fast the piece is going to be. Encompassed in rhythm are sub-topics of duration, tempo, and meter, which helps the listener and musician to follow the structure of the piece. Rhythm tends to be more the technical part of the song but it carries much importance because without it the song would be a mess of lyrics and instruments without direction. So the duration is the length of time between each note and silence. It is used to bring attention to a certain section of the song because a very long note or silence is jarring to the listener. A silence can bring emphasis to the next note and add a complexity to the tempo of the song. The meter of the song is the repetition of accents and stresses that are arranged into the recognizable beat of the song. In a song, the accented notes tend to be the first note of the measure, however, to create more drama many artists utilize syncopation or the putting of accents on off-beats. The meter is emphasized by the song’s tempo or speed at which the beat is played. It is often known as beats per minute (bpm). The tempo of the song determines the level of excitement and mood of the song. It has been said by Gow that “the time-pattern upon his attention must be the excuse for the common conception of rhythm as the emotional element in music” (Gow, 1915, p. 637) or in layman terms. The pattern of sound, silence, and speed adds significantly to the emotions and feeling drawn from the piece so it is imperative that the artist uses the correct rhythm and tempo for the desired effect. An example of this would be how slow blues music tends to be around the 60 bpm and rock and roll music tends to be about 175 bpm. (Gow, 1915, p. 637- 642)<ref> Gow, G. (1915). Rhythm: The Life of Music. The Musical Quarterly, 1(4), 637-652. Retrieved from http://www.jstor.org/stable/738071 </ref> <br />
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Grunge music is all about the aesthetic of the music and many times it is difficult to derive the meaning of the lyrics due to the vocal quality or symbolic meaning of the lyrics. So it’s imperative to set the right tone via the rhythm because without that the song could be changed from a very dark and emotional piece to one that sounds happy and light. Therefore, the duration of the notes and silences have to create drama and angst. The meter must accentuate the right beat and word of the lyrics to make them pop. One consistency round most grunge music is its timed meter, which was 4/4 time or four beats per measure. The emphasis on notes tended to be inconsistent though because it was really dependent on the lyrics. Some songs did use accents of off-beats to draw more attention to one part or another. Meter also creates the structure to the song. Without that the song has very similar and boring notes with no structure. The tempo has to give the song the right attitude. So in grunge music artists wanted a tempo to reflect sadness and depression that they often felt, but they but they wanted to be interesting and attention grabbing. So many artist chooses tempos from around 90-120 (bpm) there was no exact range to the tempos. It was really up to the musician’s ear. However, one can tell that the artist chose the right tempo, if the emotions were portrayed foremost in the music. A good example would be to speed up or slow down a grunge song.<br />
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When that is done, ignoring the higher pitch of Cobain's voice, it is obvious that one will not get the same emphasis on themes of the music leaving the song useless to the artist. The grunge artist needed the aesthetic of angst and pain to drip from the lyrics to get his point across. <br />
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=== Dynamics ===<br />
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The dynamics of a song is the loudness and or softness at which the song is played at. A song can be played very loudly, fortissimo, or very softly, pianissimo, and it would create a different interpretation of the song. Some genres of music tend to produce quieter music while others like to blast their audience with their music. An artist can also have a range of volumes with many choosing sections of their song to be quieter to emphasize the words or the music’s complexity and others sections being softer to portray emotions. Sometimes the artist wants to create a buildup of tension in the song so he or she will use a crescendo, getting louder, or a decrescendo, getting softer to achieve it. Another part of dynamics, which was touched on in rhythm, is accenting a note or “leaning into a note” <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017. </ref> and it creates a unique sound. It is important to use dynamics because it keeps the music interesting. A lovely example that many people have probably heard before would be in Richard Strauss's Also Sprach Zarathustra, Op. 30. <br><br />
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It starts our pianissimo and then crescendos to fortissimo until it is absolutely blaring. These dynamics are meant to grab the attention of the audience and awaken anyone who has fallen asleep during the very quiet part. Dynamics are an important part of the music creation process due to the fact that a combination of these dynamics creates the genre's signature style. Hardcore rock is known to bombard their audience with sound while other genres such as country tend to have a moderate volume. <br />
<br><br><br />
Dynamics is another really important element in grunge music because it can be used as an emphasis on particular parts of the song. The song could go from a verse of quiet reflection to a chorus of raging anger. This element is interlinked with all of the other elements to create the song the way that artist meant to portray it. Many of the grunge artists use dynamics to emphasize the themes of the song. So while many songs of the grunge genre do tend to vacillate between very loud and quiet, not every song does. It all depends on the themes and emotions of the songs. An example of the differences would be comparing the dynamics of Black Hole Sun by Soundgarden and Glycerine by Bush. They are both classified under the genre of grunge music, but they have totally different dynamics. In Black Hole Sun, the first verse starts out pretty quiet to emphasize the almost euphoric nature of words and the invisibility the singer feels. Then in the chorus, there is a large increase in volume which tries to capture the anger and pain of his invisibility. However, in Glycerine, the verse starts out pretty quiet and has a mournful tone and it crescendos ever so slightly into the chorus which is still mournful plus a bit remorseful also. The dynamics are used in grunge as an emphasis on certain feelings and emotions and though some do have a pattern of a quite verse and loud chorus some use other dynamics to get their point across. <br />
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=== Form ===<br />
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In music, the element of form is a combination of the repetition, contrast, and continuity that creates a song’s uniqueness. The form is very dependent on the other elements of music because it is the way the music is arranged. There is a mixture of musical ideas that are carefully arranged to create the meaning behind the music, which is illustrated when the chorus, speaking both lyrically and instrumentally, is repeated. To differentiate the diversions in music, letters such as A, B, C, are used. This is used determine the slight variation in musical patterns. Repetition is often utilized in form to set the theme of the song. This is seen when the chorus is repeated or the verse lyrics change and music stays the same. Repetition in music is known to create continuity and is usually done with a catchy chorus. Contrarily when there is a change or contrast in music, it is often used to note a shift in mood. The form includes a myriad of types including strophic, binary, verse/chorus song, and ternary forms. These types of forms are derived from the repetition, contrast, and continuity referred to previously. The strophic form is when the same music is repeated over and over for several verses of music. This is the most basic form, which lacks contrast and is all repetition. The message the song is trying to portray is usually very elementary. In the binary form, there are two parts. It uses contrast to highlight the question answer music phrasing between the similar phrasing contrasting section. A combination between the binary and strophic forms is the Verse/ Chorus Song form. It alternates between the storytelling verses, which contain different lyrics each verse, and the recurring chorus. <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017</ref>. It creates the feeling of familiarity and allows for many ideas and feelings to be told and then reiterated in the chorus, which is very important in grunge music. The last form being covered is the ternary from. It is a three-part form that has a repletion of the first verse, with different lyrics, which then processes to the chorus and returns back to the theme of the first verse. The form is very diverse in music and can evoke different emotions. So one can see how important it is to grunge music because of its ability to highlight the different parts of the song through repetition, contrast, and continuity. <br />
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Grunge music is primarily about emotions and social issues that plagued many of the youth during that time, so it is very important to have the music bring attention to these issues through the phrasing of the chorus and verses. Songs In the 1990’s many rock songs followed a verse-chorus form, which Brad Osborn likes to call the “verse-chorus paradigm” (Osborn, 2013, p. 23). <ref> Osborn, B. (2013). Subverting the Verse–Chorus Paradigm: Terminally Climactic Forms in Recent Rock Music. Music Theory Spectrum, 35(1), 23-47. doi:10.1525/mts.2013.35.1.23 </ref> or in less layman terms a verse-chorus pattern. Osborn then quotes John Covach who says “In a verse-chorus [form]...the focus of the song is squarely on the chorus...[T]he verses serve primarily to prepare the return of the chorus’’ (Osborn, 2013, p. 23) and this makes the song sound like it’s using the chorus as the main bringer of emotion to the song. Many grunge songs, due to the fact that they are part of the rock genre, did use this form. It allowed many of the emotions of the first verse to be realized and then an overall feeling of dissatisfaction to be released about these feelings. This can especially be seen in “Heart-Shaped Box” by Nirvana, which starts with verse 1 <div style="text-align: center;"> She eyes me like a Pisces when I am weak <br><br />
I've been locked inside your heart-shaped box for weeks <br><br />
I've been drawn into your magnetar pit trap trap <br><br />
I wish I could eat your cancer when you turn black<ref> https://play.google.com/music/preview/Ttdyvwmcelupwuxwf6fsabw2qwq?lyrics=1&utm_source=google&utm_medium=search&utm_campaign=lyrics&pcampaignid=kp-lyrics </ref> </div><br>. The music plays on the use of the verse-chorus form to highlight the emotions of feeling trapped and helpless, which are then built on during the chorus <div style="text-align: center;"> Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice <br><br />
Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice<br><br />
Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice, your advice<ref> https://play.google.com/music/preview/Ttdyvwmcelupwuxwf6fsabw2qwq?lyrics=1&utm_source=google&utm_medium=search&utm_campaign=lyrics&pcampaignid=kp-lyrics </ref> </div><br>. The chorus is emphasizing the trapped feeling the singer is feeling, which he compares to debt. He feels that he is ever in debt and trapped. The next verse, which is musically a mirror of the first verse, but the lyrics speak of the great helpless he feels. This form allows great emphasis on the chorus and it also climaxes at the end when the last chorus is repeated. However, not every grunge song contained this form. In Glycerine by Bush, the song has a much different form, but still allows the emotions of sorrow and regret be portrayed to the audience. <br />
It’s all about the emotions being reached. They did not need to use this form to release and tell all of the audience their problems. It can be reached just as well with other songs <br />
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=Section 2: Elements of Writing a Grunge Song=<br />
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== A Satirical Way of Writing a Grunge Song==<br />
So now that we have a solid understanding of what harmony, rhythm, dynamics, and form are and how they are used in grunge music, we are now ready to write a song that emphasizes the true elements of grunge music. Here we are going to go step by step and identify how to create one of these grunge songs. We will be looking back at both our background and analysis of grunge songs to help us determine the best way to make a number one seller like “Smells Like Teen Spirit” by Nirvana. If one is not familiar with a lot of grunge music, I would suggest looking at my page [[Grunge in London|Grunge in London]]. That page will give you more background and information about the grunge era and includes some of its iconic songs from artists both from America and London. The purpose of this is to create a light-hearted and funny guide that highlights the both the technical aspects of grunge music and its unique sound that was learned in the background. While also pointing out repetitive nature of the themes, its inaudible lyrics, and their creepy videos. This is all made in good fun and is not meant to diminish any of the personal problems that these singers faced. They had very serious problems that some were not able to overcome and many did use music as an outlet to express their emotions. But for our purposes, we are focusing more on the teen angst portion, which contains more insignificant problems like Wi-Fi buffering or not having the latest video game, which is trying to fit in with this current generation of teenagers in a world of technology. From this, we will produce steps to creating a chart-topping, show-stopping, musical genius of a grunge song that has the consideration of the elements of music we analyzed. <br />
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<br><br />
==Drawing Inspiration ==<br />
Grunge music was very much known for its aesthetic and its ability to connect with the youth of generation x or those born in the 1990’s. It covered many “distasteful” topics such as depression, suicide, and alienation, which many grunge artists experienced and fought a daily battle to overcome. Today, many still listen to grunge music and find it comforting to know that there were others out there going through the same struggles of feeling forgotten, rejected and lost. But for those who feel that grunge music does not fit in with their technology filled life, they may want to create a grunge song that covers a topic they feel creates negative feelings for them. So to get into the proper mindset to write this song, one must dig deep into the recesses of his or her feelings of teen angst to dig out some sort of darker emotions. May I suggest a YouTube video of a pug who can’t roll over, not having enough phone data, or trying to watch the finale of your favorite show but the Wi-Fi keeps buffering the video? Think of something that is basically insignificant to the rest of the world and only really matters to you. A bad selfie would qualify as a good one also but may need to be prefaced that it was posted to social media and your crush may see it. Horrifying I know! Once you have found the feelings you would like to express in your song, start thinking of how you would like to portray those emotions and what you would like the overall sound to be. These feelings will be the base of your song and all of your further decisions will be based on the mood created by these emotions. I have personally dug out from the recesses of my long-buried teen nerdy angst the feeling of anxiety and sorrow when my code wouldn’t compile. <br><br />
<br><br />
== Emotion and Harmony ==<br />
Your next step is choosing how you would like to portray that to your listeners. I would do this by making it sound like the world will end if the code doesn’t work and that all will be lost. Don’t be afraid to be over dramatic. That’s what attracts people to the music is the drama and emotion. Right? Now that that has been cleared up, the actual song can now be written. One must start with the most crucial part first, the harmony. When done right, the harmony helps to create the emotion of the music. In grunge, musicians experimented with a variety of different techniques and ideas. They wanted to step out of the norm of alternative music. So, they experimented the chords of the music and found that when they distort the note a great deal it produces a much richer sound that reaches higher. Therefore, much of grunge music is written in 3 note chords which stem from a key signature. So, the first part of creating your harmony is deciding what key you would like your song, which you could do by picking you favorite note. I will be arbitrarily picking the key of F major. If you have a favorite key pick that one; it will make it more personal to you. Next, for choosing your chord progressions pick whatever sounds good together. Also, make sure to have at least one modulation of a note in there. It is a grunge classic and a must if you want your song to be grunge. This will create the dissonance you are looking for and will add to any emotion ranging from hatred to anxiety. Wow look at that, after playing with chords for a few hours, you will be able to get some chord progressions that you like. At this stage, you will also have to decide what instruments you would like to use. You honestly can’t go wrong with the grunge classic of guitar, bass guitar and drum set. If you are feeling fancy you could add another instrument to complement your theme and mood.<br><br />
<br><br />
== Final Steps ==<br />
After your harmony is all figured out, which will probably take a while, you will need to figure out your rhythm. The rhythm as stated before is really based on the emotion of the song so you’re going to need to play around with the speeds until you feel it has reached the right mood to represent the emotions you are trying to portray. Many grunge pieces have a range from 90-120 (bpm), but feel free to choose one that best suits the song. Dynamics is another important part of the piece do to that fact it determines what sections are loud and what sections are softer. Many times gunge utilized dynamics to create a call and response type of sound in the song. It also had the power to create tension in a song so it may work for your song if that is what you are striving for. One may also put accents on different parts of the song where you want to highlight a lyrics. The last thing you’ll need is the form of the song or how it the song is constructed both lyrically and musically. It is all about the repetition of the song of the chorus and its verses. The classic rock and grunge form of the 1990s was the verse-chorus form that focused its attention to the chorus. This is a really nice form for if you are highlighting your chorus. Though all grunge songs did not use this form, they also achieved their aesthetic by used other forms. So feel free to look into other forms that may make your song more grunge. The last requirement to writing a grunge song is lyrics! All grunge songs contained lyrics that expressed their emotions, so make your lyrics emotional and full of angst. As a bonus, have your singer sing very muffled and with almost unintelligible manner. It seemed really popular with bands such as Nirvana and Radiohead. You can't really hear the lyrics but you still felt a deep emotional connection to them. Any of these steps can be done in any order, so maybe start with the harmony or lyrics and form. It's really up to you. Much of the genre was experimentation held together by angst and great chords. And there you have it! You have created the next “Smells Like Teen Spirit”. Now go out and share your amazing song with the world, brace the world for its awesomeness! <br />
<br><br />
<br><br />
= Musical analysis of songs =<br />
<br><br />
Taking what has been learned about harmony, rhythm, dynamics, and form and its importance to grunge music now lets look at some songs created in the "grunge" music style. Keep in mind that you're just taking a small slice of examples and that this table isn't all-encompassing. Also note that some of the harmony listed is a general overview of the keys/tonalities explored. Find out more about grunge music and its history [[Grunge in London|here]]. <br />
<br><br><br />
{| class="wikitable" width="80%"<br />
|-<br />
! scope="row"| Grunge Music of the Late 1980's - Mid 1990's<br />
|-<br />
! Musical Elements <br />
! Heart Shaped Box <br />
! Black Hole Sun <br />
! Creep<br />
! Glycerine <br />
! Man in the Box<br />
|-<br />
! scope="row"| Artist <br />
| align="center"| Nirvana <br />
| align="center"| Soundgarden <br />
| align="center"| Radiohead<br />
| align="center"| Bush <br />
| align="center"| Alice in Chains <br />
|-<br />
! scope="row"| Rhythm<br />
| align="center"| <br />
* Time Signature: 4/4<br />
*Tempo: Moderately (108 - 120 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: 120 bpm<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: (90-93 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: Moderately (112-116 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: Moderately (107-109 bpm)<br />
|-<br />
! scope="row"| Harmony<br />
| align="center"| <br />
* Key: A minor<br />
*Major Chords: A5, F5, D5/ A, F5, D7<br />
*Chord Progressions: A5, F5, D5, A, D7<br />
| align="center"|<br />
* Key: F major<br />
*Major Chords: Gsus, G6, Bb6, F5, Em<br />
| align="center"|<br />
* Key: G major<br />
*Major Chords: G, B, C, Cm<br />
*Chord Progressions: G, B, C, Cm<br />
| align="center"|<br />
* Key: F major<br />
*Major Chords: F, C5, D5, Bb5<br />
*Chord Progressions: F, C5, D5, Bb5<br />
| align="center"|<br />
* Key: E minor <br />
* Major Chords: Em, E5, G, D, A<br />
*Chord Progressions: G5 G6 G5 G6 C E5<br />
|-<br />
! scope="row"| Dynamics <br />
| align="center"| <br />
*quite verse and roaring chorus <br />
| align="center"|<br />
*quite verse and roaring chorus <br />
| align="center"|<br />
*quite verse and roaring chorus <br />
*crescendo to chorus <br />
*decrescendo to verse <br />
| align="center"|<br />
*quite crescendo loud moderate level<br />
| align="center"|<br />
*moderate <br />
|-<br />
! scope="row"| Form <br />
| align="center"| <br />
*verse/chorus song form <br />
| align="center"|<br />
*verse/chorus song form <br />
| align="center"|<br />
*verse/chorus song form<br />
| align="center"|<br />
* verse/chorus/ bridge form <br />
| align="center"|<br />
*ABABB Form <br />
|- <br />
|}<br />
<br><br><br />
<br />
=Conclusion=<br />
<br><br />
In this project, I did an analysis of music theory from the point of view of grunge music. Music, in general, is so incredibly versatile with its ability to change one element to change the whole song and its intentions. All of the elements of music are important to delivering the music’s message. So I decided to look at grunge music though four of the elements of music to give an in-depth analysis on how these elements create the grunge sound. I also looked for ways the elements of music tied the whole genre together and gave it its particular sound. Grunge music was a unique genre that popped up as a sub-genera of alternative music, so I wanted to see what made it stand out from the rest. I determined that the genre itself was notable for its emotional connection to the music. The artists took advantage of rhythm, form, dynamics, and harmony to fit their feelings of depression, angst, and anger. Most notable they changed the way chords were heard by distorting the music’s sounds. It created a fuller sound and changed the chord progressions. They were very experimental and passionate about their music and led me to a “pattern” in their music, which was that it had to be full of emotion and it had to have distortion of chords that allowed them to modulate certain notes. I was then able to play off of this pattern to create a satirized guide to creating grunge music. In the future, I would like to see more research done on patterns in grunge music because this music created a generation and still inspires many today. <br />
<br><br><br />
<br />
=External Links=<br />
[[Grunge in London| Grunge in London]]<br />
<br><br><br />
<br />
=References=<br />
<br />
[[Category:Music Projects]]<br />
[[Category:2017]]<br />
<br><br></div>Kfconroyhttps://londonhuawiki.wpi.edu/index.php?title=Music_Theory_behind_Grunge_Music&diff=18817Music Theory behind Grunge Music2017-06-22T07:11:54Z<p>Kfconroy: </p>
<hr />
<div><br />
by [[User:Kfconroy|Katharine Conory]]<br><br />
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{{Infobox<br />
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__TOC__<br />
<br />
<br />
=Abstract=<br />
The objective of this milestone is to take all that I have learned from my [[Grunge in London|Grunge in London]] Capstone to analysis the music under the lens of music theory. I hope to be able to see what grunge music has to offer by way of harmony, rhythm, dynamics, and form, which are some of the elements of all music. For my deliverable, I am taking all that I learned from this analysis of grunge music from a music theory background to create my own guide to what a grunge song would contain in the way of harmony, rhythm, dynamics and form with examples of what I would do. <br> <br><br />
For this project, I am drawing back on my past experience with music theory and my violin background. This is slightly challenging due to the fact that harmony for a violin is much simpler for a violin than a guitar. In high school, I took several music classes and was in both chorus and band. I hope to gain more knowledge about music theory and help others understand music as well. <br />
<br><br><br />
<br />
=Introduction=<br />
This project is meant to introduce those who enjoy music to the music theory or backbone of music that makes it sounds a certain way or gives it a certain emotion. Music is defined by its elements, which allows a certain genre of music sounds different than another. So, I distinguished four important elements of music and did an in-depth analysis of each with a comparison of grunge to popular rock music of that time. From that analysis, I then produced a guide to producing gunge songs from a satirical background with examples of what I would do. <br> <br><br />
In my research, I found that grunge was more covered as a social and ethical topic with little being covered about the music itself. It was difficult to find much on the elements of music in respect to the grunge genre itself, but I did find some info on it under the umbrella of alternative. I discovered that its sound and style was primarily based off of the music’s harmony with the rhythm, form, and dynamics still very important to its overall sound. But, there was no real pattern to the music. Together in had a unique sound due to the harmonic practices, but what really kept the genre a genre was the music’s attitude and the taboo topics it tried to address. Each artist has its own unique style and sound but they all fell into the same genre. This project needs more research to fully grasp the musical differences between grunge music and the popular rock of the time. <br />
<br><br><br />
<br />
=Section 1: Background=<br />
Grunge was a style choice, a cultural movement and most importantly a music style that appeared in the late 1980’s to the early 1990’s, which songs had focused on topics of a taboo nature such as alienation, depression, and suicide. The movement focused on using their music to enlighten those around them about the problems that they were suffering from, which resonated very well with the youth who were also facing many of those issues. It was very popular and topped many of the more well-known artists. It had a new an appealing sound that differed from the rock and pop music of day. Grunge music is considered to be a sub-genre of rock with heavy overlap with other rock subgenres such as alternative, metal, and punk <ref> STRONG, C. (2016). GRUNGE: music and memory. S.l.: ROUTLEDGE. </ref>.The music contained a dirty and raw sound guitar sound, which gave the genre its name. This music has a significant effect on the culture of the Seattle area where is was started, which is no surprise due to the fact that music has always been a major component of cultural changes in society. There have been many scholarly articles citing its importance and during this time there was a major shift in attitudes towards the world and the people who lived in it, which emphasized the feelings correlated to alienation, depression, and suicide. However one may ask how music, subtracting the lyrics, could evoke such feelings, which in fact brings me to the focus of this capstone; the music theory behind grunge music that gave it its unique sound. <br><br> <br />
The music theory behind grunge music will explain how this music became so unique, but this calls into question of the definition music. In the most literal idea, one can see music as “vibrations in the air that are observed by us and then interpreted as sounds. These sounds play out over time, meaning that music is, therefore, sound over time” <ref> Samama, L., & Clements, D. (2016). What is music? In The Meaning of Music (pp. 27-31). Amsterdam University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/j.ctt1b9x1ts.5</ref>. However, that is way too literal and would infer that all sounds are music like all paintings are works of art. Music is way more sophisticated and can be seen as “multi-dimensional (and a) multimedia phenomenon’’ <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017.</ref>. Therefore music is grouped into seven different elements, which are rhythm, dynamics, melody, harmony, tone color, texture, and form to help identify the key differences between grunge music and say rap. These elements added to the sound and identity of the genre, so much so it stood out from the rest of the alternative genre, which grunge was a subgenre of, during that era. Below I have chosen 4 elements I feel distinguished the grunge genre of from that which was popular during the 1990’s and created the special sound to the music that allowed the artists to express their emotions. <br><br> <br />
<br />
==Musical Elements ==<br />
===Harmony === <br />
<br><br />
Harmony is very important to the creation of music, due to the fact it the way notes are played in relation to each other. This is a very technical and complex element of music that can be fairly hard to understand, so it is important to start at the beginning. There are seven notes in all of the music, not including all of the flats and sharps, A, B, C, D, E, F, G and these are the building blocks on which songs can then be built. The full list of notes which contain all the flats (b) and sharps (#) starting at A is '''A''', A#/Bb, '''B''', C, '''C#/Db''', '''D''', D#/Eb, '''E''', F, '''F#/Gb''', G, '''G#/Ab''', '''A''' and follows a pattern of 2212221, which gives a scale of A major. The pattern is followed by the bolded letters produces A, B, C#, D, E, F#, G#, and A as the A Major Scale. From the scale, one can then produce all of the chords that can be made from that key. A chord is several notes played together to that are separated by thirds, which produce notes that complement each other very well. The chords for an A major key would contain AC#E I (major), BDF# ii (minor), C#EG# iii (minor), DF#A IV (major), EG#B V (major), F#AC# vi (minor), G#BD vii0 (diminished). To form these 3 note chords, one takes the scale and starts at the first note in the scale, which in our case is A. Then, skip the next note, B, and chose C# to do this again for the third and last note of the chord. Your final chord will be AC#E, which is a major chord and they you do it for B, C#, etc. for the rest of the chords until you come back to your original note A. The chords are in a pattern of major, minor, minor, major, major, minor, and diminished, which are shown by the capitalized Roman numerals rather than the lower case ones and the 0 at the end means diminished. Another name this goes by is diatonic harmony and all this is the way notes relate with each other in a certain key. All of this can be replicated for all of the other keys in music to get chords. These chords then can be played in succession after one another and produce a chord progression. Some commonly used chord progressions in the key of A are ADE (I – IV- V) and BEA (ii-V-I). These chords and chord progression are what creates the harmony in the song and they are often used in term of how harsh they sound. The harshness of chords is quantified into dissonance and consonance. Dissonance is a very harsh sounding harmony and its chords known for creating tension in a piece. Consonance is a smooth sounding harmony that creates consonant chords, which resolves tension created by the dissonant chords. Chords are very important to music because it truly creates the mood of the music. More dissonant sounding music sounds almost unstable, eerie and sad. A really good example is Mozart’s Quartetto K. 465 "delle dissonanze". One can hear the very dissonant beginning and then throughout the rest of the piece, one can hear how dissonance is resolved by consonance (The Elements Of Music, 2017, p. 3). <htmltag tagname="iframe" id= width="200" height="150" src="https://www.youtube.com/embed/08uY0-ehL-w" frameborder="0" allowfullscreen></htmltag> <br />
<br><br />
In grunge music, harmony played a large part in creating its aesthetic and sound. This music was very powerful and was known to use “power chords” (McDonald, 2000, p.355) as a “set of harmonic practices that rock musicians, particularly those who participate in the domain of guitar-oriented 'alternative' rock, have been using” (McDonald, 2000, p.355) <ref> McDonald, C. (2000). Exploring modal subversions in alternative music. Popular Music, 19(3), 355-363. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/853641 </ref>. These musicians were trying to break the mold of rock and alternative music so they tried new practices such as distorting the guitar’s sounds and choosing unique chord combinations. An example of this was the change of the power chords, which are normally fifths or fourths (McDonald, 2000, p.356). However, do to the heavy guitar distortion, created by overloading the signal into the amplifier, it created a more complex sound that allowed more sound to come from the notes played. This distortion allowed chords done in thirds to have a richer and fuller sounds and as a byproduct created a very dissonant sound (Biamonte, 2010, p. 97). Another in interesting part to grunge’s harmony was its use of “third or cross relations” (McDonald, 2000, p.357) that allows songs that were written in the key of A major and as we determined before C# would be the C note used, however in grunge music the C would incongruently change a minor third to C5 or Cb. This is what author Chris McDonald calls “modal subversion” (McDonald, 2000, p.357). It used constantly in these songs and an example of it would be in “Smells like Teen Spirit” by Nirvana. In this song the key is in F minor and in that scale A is natural but in “Smells like Teen Spirit” the A modulates to Ab (Osborn, 2013, 31) <ref> Osborn, B. (2013). Subverting the Verse–Chorus paradigm; terminally climactic forms in recent rock music. Music Theory Spectrum, 35(1), 23-47. doi:10.1525/mts.2013.35.1.23 <br />
</ref>. This a common theme in many grunge songs and gives its unique sounds, aesthetic, and emotion. <br />
<br><br><br />
<br />
=== Rhythm ===<br />
<br><br />
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In music, the rhythm of a song is the time in which a song is played. This can be seen when a person is tapping one’s foot to the beat. The rhythm of the song is very important in creating the emotions of the song due to the fact that it determines how fast the piece is going to be. Encompassed in rhythm are sub-topics of duration, tempo, and meter, which helps the listener and musician to follow the structure of the piece. Rhythm tends to be more the technical part of the song but it carries much importance because without it the song would be a mess of lyrics and instruments without direction. So the duration is the length of time between each note and silence. It is used to bring attention to a certain section of the song because a very long note or silence is jarring to the listener. A silence can bring emphasis to the next note and add a complexity to the tempo of the song. The meter of the song is the repetition of accents and stresses that are arranged into the recognizable beat of the song. In a song, the accented notes tend to be the first note of the measure, however, to create more drama many artists utilize syncopation or the putting of accents on off-beats. The meter is emphasized by the song’s tempo or speed at which the beat is played. It is often known as beats per minute (bpm). The tempo of the song determines the level of excitement and mood of the song. It has been said by Gow that “the time-pattern upon his attention must be the excuse for the common conception of rhythm as the emotional element in music” (Gow, 1915, p. 637) or in layman terms. The pattern of sound, silence, and speed adds significantly to the emotions and feeling drawn from the piece so it is imperative that the artist uses the correct rhythm and tempo for the desired effect. An example of this would be how slow blues music tends to be around the 60 bpm and rock and roll music tends to be about 175 bpm. (Gow, 1915, p. 637- 642)<ref> Gow, G. (1915). Rhythm: The Life of Music. The Musical Quarterly, 1(4), 637-652. Retrieved from http://www.jstor.org/stable/738071 </ref> <br />
<br> <br> <br />
Grunge music is all about the aesthetic of the music and many times it is difficult to derive the meaning of the lyrics due to the vocal quality or symbolic meaning of the lyrics. So it’s imperative to set the right tone via the rhythm because without that the song could be changed from a very dark and emotional piece to one that sounds happy and light. Therefore, the duration of the notes and silences have to create drama and angst. The meter must accentuate the right beat and word of the lyrics to make them pop. One consistency round most grunge music is its timed meter, which was 4/4 time or four beats per measure. The emphasis on notes tended to be inconsistent though because it was really dependent on the lyrics. Some songs did use accents of off-beats to draw more attention to one part or another. Meter also creates the structure to the song. Without that the song has very similar and boring notes with no structure. The tempo has to give the song the right attitude. So in grunge music artists wanted a tempo to reflect sadness and depression that they often felt, but they but they wanted to be interesting and attention grabbing. So many artist chooses tempos from around 90-120 (bpm) there was no exact range to the tempos. It was really up to the musician’s ear. However, one can tell that the artist chose the right tempo, if the emotions were portrayed foremost in the music. A good example would be to speed up or slow down a grunge song.<br />
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When that is done, ignoring the higher pitch of Cobain's voice, it is obvious that one will not get the same emphasis on themes of the music leaving the song useless to the artist. The grunge artist needed the aesthetic of angst and pain to drip from the lyrics to get his point across. <br />
<br> <br><br />
<br />
=== Dynamics ===<br />
<br><br />
The dynamics of a song is the loudness and or softness at which the song is played at. A song can be played very loudly, fortissimo, or very softly, pianissimo, and it would create a different interpretation of the song. Some genres of music tend to produce quieter music while others like to blast their audience with their music. An artist can also have a range of volumes with many choosing sections of their song to be quieter to emphasize the words or the music’s complexity and others sections being softer to portray emotions. Sometimes the artist wants to create a buildup of tension in the song so he or she will use a crescendo, getting louder, or a decrescendo, getting softer to achieve it. Another part of dynamics, which was touched on in rhythm, is accenting a note or “leaning into a note” <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017. </ref> and it creates a unique sound. It is important to use dynamics because it keeps the music interesting. A lovely example that many people have probably heard before would be in Richard Strauss's Also Sprach Zarathustra, Op. 30. <br><br />
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It starts our pianissimo and then crescendos to fortissimo until it is absolutely blaring. These dynamics are meant to grab the attention of the audience and awaken anyone who has fallen asleep during the very quiet part. Dynamics are an important part of the music creation process due to the fact that a combination of these dynamics creates the genre's signature style. Hardcore rock is known to bombard their audience with sound while other genres such as country tend to have a moderate volume. <br />
<br><br><br />
Dynamics is another really important element in grunge music because it can be used as an emphasis on particular parts of the song. The song could go from a verse of quiet reflection to a chorus of raging anger. This element is interlinked with all of the other elements to create the song the way that artist meant to portray it. Many of the grunge artists use dynamics to emphasize the themes of the song. So while many songs of the grunge genre do tend to vacillate between very loud and quiet, not every song does. It all depends on the themes and emotions of the songs. An example of the differences would be comparing the dynamics of Black Hole Sun by Soundgarden and Glycerine by Bush. They are both classified under the genre of grunge music, but they have totally different dynamics. In Black Hole Sun, the first verse starts out pretty quiet to emphasize the almost euphoric nature of words and the invisibility the singer feels. Then in the chorus, there is a large increase in volume which tries to capture the anger and pain of his invisibility. However, in Glycerine, the verse starts out pretty quiet and has a mournful tone and it crescendos ever so slightly into the chorus which is still mournful plus a bit remorseful also. The dynamics are used in grunge as an emphasis on certain feelings and emotions and though some do have a pattern of a quite verse and loud chorus some use other dynamics to get their point across. <br />
<br><br><br />
=== Form ===<br />
<br><br />
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In music, the element of form is a combination of the repetition, contrast, and continuity that creates a song’s uniqueness. The form is very dependent on the other elements of music because it is the way the music is arranged. There is a mixture of musical ideas that are carefully arranged to create the meaning behind the music, which is illustrated when the chorus, speaking both lyrically and instrumentally, is repeated. To differentiate the diversions in music, letters such as A, B, C, are used. This is used determine the slight variation in musical patterns. Repetition is often utilized in form to set the theme of the song. This is seen when the chorus is repeated or the verse lyrics change and music stays the same. Repetition in music is known to create continuity and is usually done with a catchy chorus. Contrarily when there is a change or contrast in music, it is often used to note a shift in mood. The form includes a myriad of types including strophic, binary, verse/chorus song, and ternary forms. These types of forms are derived from the repetition, contrast, and continuity referred to previously. The strophic form is when the same music is repeated over and over for several verses of music. This is the most basic form, which lacks contrast and is all repetition. The message the song is trying to portray is usually very elementary. In the binary form, there are two parts. It uses contrast to highlight the question answer music phrasing between the similar phrasing contrasting section. A combination between the binary and strophic forms is the Verse/ Chorus Song form. It alternates between the storytelling verses, which contain different lyrics each verse, and the recurring chorus. <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017</ref>. It creates the feeling of familiarity and allows for many ideas and feelings to be told and then reiterated in the chorus, which is very important in grunge music. The last form being covered is the ternary from. It is a three-part form that has a repletion of the first verse, with different lyrics, which then processes to the chorus and returns back to the theme of the first verse. The form is very diverse in music and can evoke different emotions. So one can see how important it is to grunge music because of its ability to highlight the different parts of the song through repetition, contrast, and continuity. <br />
<br><br><br />
Grunge music is primarily about emotions and social issues that plagued many of the youth during that time, so it is very important to have the music bring attention to these issues through the phrasing of the chorus and verses. Songs In the 1990’s many rock songs followed a verse-chorus form, which Brad Osborn likes to call the “verse-chorus paradigm” (Osborn, 2013, p. 23). <ref> Osborn, B. (2013). Subverting the Verse–Chorus Paradigm: Terminally Climactic Forms in Recent Rock Music. Music Theory Spectrum, 35(1), 23-47. doi:10.1525/mts.2013.35.1.23 </ref> or in less layman terms a verse-chorus pattern. Osborn then quotes John Covach who says “In a verse-chorus [form]...the focus of the song is squarely on the chorus...[T]he verses serve primarily to prepare the return of the chorus’’ (Osborn, 2013, p. 23) and this makes the song sound like it’s using the chorus as the main bringer of emotion to the song. Many grunge songs, due to the fact that they are part of the rock genre, did use this form. It allowed many of the emotions of the first verse to be realized and then an overall feeling of dissatisfaction to be released about these feelings. This can especially be seen in “Heart-Shaped Box” by Nirvana, which starts with verse 1 <div style="text-align: center;"> She eyes me like a Pisces when I am weak <br><br />
I've been locked inside your heart-shaped box for weeks <br><br />
I've been drawn into your magnetar pit trap trap <br><br />
I wish I could eat your cancer when you turn black<ref> https://play.google.com/music/preview/Ttdyvwmcelupwuxwf6fsabw2qwq?lyrics=1&utm_source=google&utm_medium=search&utm_campaign=lyrics&pcampaignid=kp-lyrics </ref> </div><br>. The music plays on the use of the verse-chorus form to highlight the emotions of feeling trapped and helpless, which are then built on during the chorus <div style="text-align: center;"> Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice <br><br />
Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice<br><br />
Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice, your advice<ref> https://play.google.com/music/preview/Ttdyvwmcelupwuxwf6fsabw2qwq?lyrics=1&utm_source=google&utm_medium=search&utm_campaign=lyrics&pcampaignid=kp-lyrics </ref> </div><br>. The chorus is emphasizing the trapped feeling the singer is feeling, which he compares to debt. He feels that he is ever in debt and trapped. The next verse, which is musically a mirror of the first verse, but the lyrics speak of the great helpless he feels. This form allows great emphasis on the chorus and it also climaxes at the end when the last chorus is repeated. However, not every grunge song contained this form. In Glycerine by Bush, the song has a much different form, but still allows the emotions of sorrow and regret be portrayed to the audience. <br />
It’s all about the emotions being reached. They did not need to use this form to release and tell all of the audience their problems. It can be reached just as well with other songs <br />
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=Section 2: Elements of Writing a Grunge Song=<br />
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== A Satirical Way of Writing a Grunge Song==<br />
So now that we have a solid understanding of what harmony, rhythm, dynamics, and form are and how they are used in grunge music, we are now ready to write a song that emphasizes the true elements of grunge music. Here we are going to go step by step and identify how to create one of these grunge songs. We will be looking back at both our background and analysis of grunge songs to help us determine the best way to make a number one seller like “Smells Like Teen Spirit” by Nirvana. If one is not familiar with a lot of grunge music, I would suggest looking at my page [[Grunge in London|Grunge in London]]. That page will give you more background and information about the grunge era and includes some of its iconic songs from artists both from America and London. The purpose of this is to create a light-hearted and funny guide that highlights the both the technical aspects of grunge music and its unique sound that was learned in the background. While also pointing out repetitive nature of the themes, its inaudible lyrics, and their creepy videos. This is all made in good fun and is not meant to diminish any of the personal problems that these singers faced. They had very serious problems that some were not able to overcome and many did use music as an outlet to express their emotions. But for our purposes, we are focusing more on the teen angst portion, which contains more insignificant problems like Wi-Fi buffering or not having the latest video game, which is trying to fit in with this current generation of teenagers in a world of technology. From this, we will produce steps to creating a chart-topping, show-stopping, musical genius of a grunge song that has the consideration of the elements of music we analyzed. <br />
<br><br />
<br><br />
==Drawing Inspiration ==<br />
Grunge music was very much known for its aesthetic and its ability to connect with the youth of generation x or those born in the 1990’s. It covered many “distasteful” topics such as depression, suicide, and alienation, which many grunge artists experienced and fought a daily battle to overcome. Today, many still listen to grunge music and find it comforting to know that there were others out there going through the same struggles of feeling forgotten, rejected and lost. But for those who feel that grunge music does not fit in with their technology filled life, they may want to create a grunge song that covers a topic they feel creates negative feelings for them. So to get into the proper mindset to write this song, one must dig deep into the recesses of his or her feelings of teen angst to dig out some sort of darker emotions. May I suggest a YouTube video of a pug who can’t roll over, not having enough phone data, or trying to watch the finale of your favorite show but the Wi-Fi keeps buffering the video? Think of something that is basically insignificant to the rest of the world and only really matters to you. A bad selfie would qualify as a good one also but may need to be prefaced that it was posted to social media and your crush may see it. Horrifying I know! Once you have found the feelings you would like to express in your song, start thinking of how you would like to portray those emotions and what you would like the overall sound to be. These feelings will be the base of your song and all of your further decisions will be based on the mood created by these emotions. I have personally dug out from the recesses of my long-buried teen nerdy angst the feeling of anxiety and sorrow when my code wouldn’t compile. <br><br />
<br><br />
== Emotion and Harmony ==<br />
Your next step is choosing how you would like to portray that to your listeners. I would do this by making it sound like the world will end if the code doesn’t work and that all will be lost. Don’t be afraid to be over dramatic. That’s what attracts people to the music is the drama and emotion. Right? Now that that has been cleared up, the actual song can now be written. One must start with the most crucial part first, the harmony. When done right, the harmony helps to create the emotion of the music. In grunge, musicians experimented with a variety of different techniques and ideas. They wanted to step out of the norm of alternative music. So, they experimented the chords of the music and found that when they distort the note a great deal it produces a much richer sound that reaches higher. Therefore, much of grunge music is written in 3 note chords which stem from a key signature. So, the first part of creating your harmony is deciding what key you would like your song, which you could do by picking you favorite note. I will be arbitrarily picking the key of F major. If you have a favorite key pick that one; it will make it more personal to you. Next, for choosing your chord progressions pick whatever sounds good together. Also, make sure to have at least one modulation of a note in there. It is a grunge classic and a must if you want your song to be grunge. This will create the dissonance you are looking for and will add to any emotion ranging from hatred to anxiety. Wow look at that, after playing with chords for a few hours, you will be able to get some chord progressions that you like. At this stage, you will also have to decide what instruments you would like to use. You honestly can’t go wrong with the grunge classic of guitar, bass guitar and drum set. If you are feeling fancy you could add another instrument to complement your theme and mood.<br><br />
<br><br />
== Final Steps ==<br />
After your harmony is all figured out, which will probably take a while, you will need to figure out your rhythm. The rhythm as stated before is really based on the emotion of the song so you’re going to need to play around with the speeds until you feel it has reached the right mood to represent the emotions you are trying to portray. Many grunge pieces have a range from 90-120 (bpm), but feel free to choose one that best suits the song. Dynamics is another important part of the piece do to that fact it determines what sections are loud and what sections are softer. Many times gunge utilized dynamics to create a call and response type of sound in the song. It also had the power to create tension in a song so it may work for your song if that is what you are striving for. One may also put accents on different parts of the song where you want to highlight a lyrics. The last thing you’ll need is the form of the song or how it the song is constructed both lyrically and musically. It is all about the repetition of the song of the chorus and its verses. The classic rock and grunge form of the 1990s was the verse-chorus form that focused its attention to the chorus. This is a really nice form for if you are highlighting your chorus. Though all grunge songs did not use this form, they also achieved their aesthetic by used other forms. So feel free to look into other forms that may make your song more grunge. The last requirement to writing a grunge song is lyrics! All grunge songs contained lyrics that expressed their emotions, so make your lyrics emotional and full of angst. As a bonus, have your singer sing very muffled and with almost unintelligible manner. It seemed really popular with bands such as Nirvana and Radiohead. You can't really hear the lyrics but you still felt a deep emotional connection to them. Any of these steps can be done in any order, so maybe start with the harmony or lyrics and form. It's really up to you. Much of the genre was experimentation held together by angst and great chords. And there you have it! You have created the next “Smells Like Teen Spirit”. Now go out and share your amazing song with the world, brace the world for its awesomeness! <br />
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<br><br />
== Musical analysis of songs ==<br />
<br><br />
Taking what has been learned about harmony, rhythm, dynamics, and form and its importance to grunge music now lets look at some songs created in the "grunge" music style. Keep in mind that you're just taking a small slice of examples and that this table isn't all-encompassing. Also note that some of the harmony listed is a general overview of the keys/tonalities explored. Find out more about grunge music and its history [[Grunge in London|here]]. <br />
<br><br><br />
{| class="wikitable" width="80%"<br />
|-<br />
! scope="row"| Grunge Music of the Late 1980's - Mid 1990's<br />
|-<br />
! Musical Elements <br />
! Heart Shaped Box <br />
! Black Hole Sun <br />
! Creep<br />
! Glycerine <br />
! Man in the Box<br />
|-<br />
! scope="row"| Artist <br />
| align="center"| Nirvana <br />
| align="center"| Soundgarden <br />
| align="center"| Radiohead<br />
| align="center"| Bush <br />
| align="center"| Alice in Chains <br />
|-<br />
! scope="row"| Rhythm<br />
| align="center"| <br />
* Time Signature: 4/4<br />
*Tempo: Moderately (108 - 120 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: 120 bpm<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: (90-93 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: Moderately (112-116 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: Moderately (107-109 bpm)<br />
|-<br />
! scope="row"| Harmony<br />
| align="center"| <br />
* Key: A minor<br />
*Major Chords: A5, F5, D5/ A, F5, D7<br />
*Chord Progressions: A5, F5, D5, A, D7<br />
| align="center"|<br />
* Key: F major<br />
*Major Chords: Gsus, G6, Bb6, F5, Em<br />
| align="center"|<br />
* Key: G major<br />
*Major Chords: G, B, C, Cm<br />
*Chord Progressions: G, B, C, Cm<br />
| align="center"|<br />
* Key: F major<br />
*Major Chords: F, C5, D5, Bb5<br />
*Chord Progressions: F, C5, D5, Bb5<br />
| align="center"|<br />
* Key: E minor <br />
* Major Chords: Em, E5, G, D, A<br />
*Chord Progressions: G5 G6 G5 G6 C E5<br />
|-<br />
! scope="row"| Dynamics <br />
| align="center"| <br />
*quite verse and roaring chorus <br />
| align="center"|<br />
*quite verse and roaring chorus <br />
| align="center"|<br />
*quite verse and roaring chorus <br />
*crescendo to chorus <br />
*decrescendo to verse <br />
| align="center"|<br />
*quite crescendo loud moderate level<br />
| align="center"|<br />
*moderate <br />
|-<br />
! scope="row"| Form <br />
| align="center"| <br />
*verse/chorus song form <br />
| align="center"|<br />
*verse/chorus song form <br />
| align="center"|<br />
*verse/chorus song form<br />
| align="center"|<br />
* verse/chorus/ bridge form <br />
| align="center"|<br />
*ABABB Form <br />
|- <br />
|}<br />
<br><br><br />
<br />
=Conclusion=<br />
<br><br />
In this project, I did an analysis of music theory from the point of view of grunge music. Music, in general, is so incredibly versatile with its ability to change one element to change the whole song and its intentions. All of the elements of music are important to delivering the music’s message. So I decided to look at grunge music though four of the elements of music to give an in-depth analysis on how these elements create the grunge sound. I also looked for ways the elements of music tied the whole genre together and gave it its particular sound. Grunge music was a unique genre that popped up as a sub-genera of alternative music, so I wanted to see what made it stand out from the rest. I determined that the genre itself was notable for its emotional connection to the music. The artists took advantage of rhythm, form, dynamics, and harmony to fit their feelings of depression, angst, and anger. Most notable they changed the way chords were heard by distorting the music’s sounds. It created a fuller sound and changed the chord progressions. They were very experimental and passionate about their music and led me to a “pattern” in their music, which was that it had to be full of emotion and it had to have distortion of chords that allowed them to modulate certain notes. I was then able to play off of this pattern to create a satirized guide to creating grunge music. In the future, I would like to see more research done on patterns in grunge music because this music created a generation and still inspires many today. <br />
<br><br><br />
<br />
=External Links=<br />
[[Grunge in London| Grunge in London]]<br />
<br><br><br />
<br />
=References=<br />
<br />
[[Category:Music Projects]]<br />
[[Category:2017]]<br />
<br><br></div>Kfconroyhttps://londonhuawiki.wpi.edu/index.php?title=Music_Theory_behind_Grunge_Music&diff=18812Music Theory behind Grunge Music2017-06-22T07:06:17Z<p>Kfconroy: </p>
<hr />
<div><br />
by [[User:Kfconroy|Katharine Conory]]<br><br />
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<br />
=Abstract=<br />
The objective of this milestone is to take all that I have learned from my [[Grunge in London|Grunge in London]] Capstone to analysis the music under the lens of music theory. I hope to be able to see what grunge music has to offer by way of harmony, rhythm, dynamics, and form, which are some of the elements of all music. For my deliverable, I am taking all that I learned from this analysis of grunge music from a music theory background to create my own guide to what a grunge song would contain in the way of harmony, rhythm, dynamics and form with examples of what I would do. <br> <br><br />
For this project, I am drawing back on my past experience with music theory and my violin background. This is slightly challenging due to the fact that harmony for a violin is much simpler for a violin than a guitar. In high school, I took several music classes and was in both chorus and band. I hope to gain more knowledge about music theory and help others understand music as well. <br />
<br><br><br />
<br />
=Introduction=<br />
This project is meant to introduce those who enjoy music to the music theory or backbone of music that makes it sounds a certain way or gives it a certain emotion. Music is defined by its elements, which allows a certain genre of music sounds different than another. So, I distinguished four important elements of music and did an in-depth analysis of each with a comparison of grunge to popular rock music of that time. From that analysis, I then produced a guide to producing gunge songs from a satirical background with examples of what I would do. <br> <br><br />
In my research, I found that grunge was more covered as a social and ethical topic with little being covered about the music itself. It was difficult to find much on the elements of music in respect to the grunge genre itself, but I did find some info on it under the umbrella of alternative. I discovered that its sound and style was primarily based off of the music’s harmony with the rhythm, form, and dynamics still very important to its overall sound. But, there was no real pattern to the music. Together in had a unique sound due to the harmonic practices, but what really kept the genre a genre was the music’s attitude and the taboo topics it tried to address. Each artist has its own unique style and sound but they all fell into the same genre. This project needs more research to fully grasp the musical differences between grunge music and the popular rock of the time. <br />
<br><br><br />
<br />
=Section 1: Background=<br />
Grunge was a style choice, a cultural movement and most importantly a music style that appeared in the late 1980’s to the early 1990’s, which songs had focused on topics of a taboo nature such as alienation, depression, and suicide. The movement focused on using their music to enlighten those around them about the problems that they were suffering from, which resonated very well with the youth who were also facing many of those issues. It was very popular and topped many of the more well-known artists. It had a new an appealing sound that differed from the rock and pop music of day. Grunge music is considered to be a sub-genre of rock with heavy overlap with other rock subgenres such as alternative, metal, and punk <ref> STRONG, C. (2016). GRUNGE: music and memory. S.l.: ROUTLEDGE. </ref>.The music contained a dirty and raw sound guitar sound, which gave the genre its name. This music has a significant effect on the culture of the Seattle area where is was started, which is no surprise due to the fact that music has always been a major component of cultural changes in society. There have been many scholarly articles citing its importance and during this time there was a major shift in attitudes towards the world and the people who lived in it, which emphasized the feelings correlated to alienation, depression, and suicide. However one may ask how music, subtracting the lyrics, could evoke such feelings, which in fact brings me to the focus of this capstone; the music theory behind grunge music that gave it its unique sound. <br><br> <br />
The music theory behind grunge music will explain how this music became so unique, but this calls into question of the definition music. In the most literal idea, one can see music as “vibrations in the air that are observed by us and then interpreted as sounds. These sounds play out over time, meaning that music is, therefore, sound over time” <ref> Samama, L., & Clements, D. (2016). What is music? In The Meaning of Music (pp. 27-31). Amsterdam University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/j.ctt1b9x1ts.5</ref>. However, that is way too literal and would infer that all sounds are music like all paintings are works of art. Music is way more sophisticated and can be seen as “multi-dimensional (and a) multimedia phenomenon’’ <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017.</ref>. Therefore music is grouped into seven different elements, which are rhythm, dynamics, melody, harmony, tone color, texture, and form to help identify the key differences between grunge music and say rap. These elements added to the sound and identity of the genre, so much so it stood out from the rest of the alternative genre, which grunge was a subgenre of, during that era. Below I have chosen 4 elements I feel distinguished the grunge genre of from that which was popular during the 1990’s and created the special sound to the music that allowed the artists to express their emotions. <br><br> <br />
<br />
==Musical Elements ==<br />
===Harmony === <br />
<br><br />
Harmony is very important to the creation of music, due to the fact it the way notes are played in relation to each other. This is a very technical and complex element of music that can be fairly hard to understand, so it is important to start at the beginning. There are seven notes in all of the music, not including all of the flats and sharps, A, B, C, D, E, F, G and these are the building blocks on which songs can then be built. The full list of notes which contain all the flats (b) and sharps (#) starting at A is '''A''', A#/Bb, '''B''', C, '''C#/Db''', '''D''', D#/Eb, '''E''', F, '''F#/Gb''', G, '''G#/Ab''', '''A''' and follows a pattern of 2212221, which gives a scale of A major. The pattern is followed by the bolded letters produces A, B, C#, D, E, F#, G#, and A as the A Major Scale. From the scale, one can then produce all of the chords that can be made from that key. A chord is several notes played together to that are separated by thirds, which produce notes that complement each other very well. The chords for an A major key would contain AC#E I (major), BDF# ii (minor), C#EG# iii (minor), DF#A IV (major), EG#B V (major), F#AC# vi (minor), G#BD vii0 (diminished). To form these 3 note chords, one takes the scale and starts at the first note in the scale, which in our case is A. Then, skip the next note, B, and chose C# to do this again for the third and last note of the chord. Your final chord will be AC#E, which is a major chord and they you do it for B, C#, etc. for the rest of the chords until you come back to your original note A. The chords are in a pattern of major, minor, minor, major, major, minor, and diminished, which are shown by the capitalized Roman numerals rather than the lower case ones and the 0 at the end means diminished. Another name this goes by is diatonic harmony and all this is the way notes relate with each other in a certain key. All of this can be replicated for all of the other keys in music to get chords. These chords then can be played in succession after one another and produce a chord progression. Some commonly used chord progressions in the key of A are ADE (I – IV- V) and BEA (ii-V-I). These chords and chord progression are what creates the harmony in the song and they are often used in term of how harsh they sound. The harshness of chords is quantified into dissonance and consonance. Dissonance is a very harsh sounding harmony and its chords known for creating tension in a piece. Consonance is a smooth sounding harmony that creates consonant chords, which resolves tension created by the dissonant chords. Chords are very important to music because it truly creates the mood of the music. More dissonant sounding music sounds almost unstable, eerie and sad. A really good example is Mozart’s Quartetto K. 465 "delle dissonanze". One can hear the very dissonant beginning and then throughout the rest of the piece, one can hear how dissonance is resolved by consonance (The Elements Of Music, 2017, p. 3). <htmltag tagname="iframe" id= width="200" height="150" src="https://www.youtube.com/embed/08uY0-ehL-w" frameborder="0" allowfullscreen></htmltag> <br />
<br><br />
In grunge music, harmony played a large part in creating its aesthetic and sound. This music was very powerful and was known to use “power chords” (McDonald, 2000, p.355) as a “set of harmonic practices that rock musicians, particularly those who participate in the domain of guitar-oriented 'alternative' rock, have been using” (McDonald, 2000, p.355) <ref> McDonald, C. (2000). Exploring modal subversions in alternative music. Popular Music, 19(3), 355-363. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/853641 </ref>. These musicians were trying to break the mold of rock and alternative music so they tried new practices such as distorting the guitar’s sounds and choosing unique chord combinations. An example of this was the change of the power chords, which are normally fifths or fourths (McDonald, 2000, p.356). However, do to the heavy guitar distortion, created by overloading the signal into the amplifier, it created a more complex sound that allowed more sound to come from the notes played. This distortion allowed chords done in thirds to have a richer and fuller sounds and as a byproduct created a very dissonant sound (Biamonte, 2010, p. 97). Another in interesting part to grunge’s harmony was its use of “third or cross relations” (McDonald, 2000, p.357) that allows songs that were written in the key of A major and as we determined before C# would be the C note used, however in grunge music the C would incongruently change a minor third to C5 or Cb. This is what author Chris McDonald calls “modal subversion” (McDonald, 2000, p.357). It used constantly in these songs and an example of it would be in “Smells like Teen Spirit” by Nirvana. In this song the key is in F minor and in that scale A is natural but in “Smells like Teen Spirit” the A modulates to Ab (Osborn, 2013, 31) <ref> Osborn, B. (2013). Subverting the Verse–Chorus paradigm; terminally climactic forms in recent rock music. Music Theory Spectrum, 35(1), 23-47. doi:10.1525/mts.2013.35.1.23 <br />
</ref>. This a common theme in many grunge songs and gives its unique sounds, aesthetic, and emotion. <br />
<br><br><br />
<br />
=== Rhythm ===<br />
<br><br />
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In music, the rhythm of a song is the time in which a song is played. This can be seen when a person is tapping one’s foot to the beat. The rhythm of the song is very important in creating the emotions of the song due to the fact that it determines how fast the piece is going to be. Encompassed in rhythm are sub-topics of duration, tempo, and meter, which helps the listener and musician to follow the structure of the piece. Rhythm tends to be more the technical part of the song but it carries much importance because without it the song would be a mess of lyrics and instruments without direction. So the duration is the length of time between each note and silence. It is used to bring attention to a certain section of the song because a very long note or silence is jarring to the listener. A silence can bring emphasis to the next note and add a complexity to the tempo of the song. The meter of the song is the repetition of accents and stresses that are arranged into the recognizable beat of the song. In a song, the accented notes tend to be the first note of the measure, however, to create more drama many artists utilize syncopation or the putting of accents on off-beats. The meter is emphasized by the song’s tempo or speed at which the beat is played. It is often known as beats per minute (bpm). The tempo of the song determines the level of excitement and mood of the song. It has been said by Gow that “the time-pattern upon his attention must be the excuse for the common conception of rhythm as the emotional element in music” (Gow, 1915, p. 637) or in layman terms. The pattern of sound, silence, and speed adds significantly to the emotions and feeling drawn from the piece so it is imperative that the artist uses the correct rhythm and tempo for the desired effect. An example of this would be how slow blues music tends to be around the 60 bpm and rock and roll music tends to be about 175 bpm. (Gow, 1915, p. 637- 642)<ref> Gow, G. (1915). Rhythm: The Life of Music. The Musical Quarterly, 1(4), 637-652. Retrieved from http://www.jstor.org/stable/738071 </ref> <br />
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Grunge music is all about the aesthetic of the music and many times it is difficult to derive the meaning of the lyrics due to the vocal quality or symbolic meaning of the lyrics. So it’s imperative to set the right tone via the rhythm because without that the song could be changed from a very dark and emotional piece to one that sounds happy and light. Therefore, the duration of the notes and silences have to create drama and angst. The meter must accentuate the right beat and word of the lyrics to make them pop. One consistency round most grunge music is its timed meter, which was 4/4 time or four beats per measure. The emphasis on notes tended to be inconsistent though because it was really dependent on the lyrics. Some songs did use accents of off-beats to draw more attention to one part or another. Meter also creates the structure to the song. Without that the song has very similar and boring notes with no structure. The tempo has to give the song the right attitude. So in grunge music artists wanted a tempo to reflect sadness and depression that they often felt, but they but they wanted to be interesting and attention grabbing. So many artist chooses tempos from around 90-120 (bpm) there was no exact range to the tempos. It was really up to the musician’s ear. However, one can tell that the artist chose the right tempo, if the emotions were portrayed foremost in the music. A good example would be to speed up or slow down a grunge song.<br />
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When that is done, ignoring the higher pitch of Cobain's voice, it is obvious that one will not get the same emphasis on themes of the music leaving the song useless to the artist. The grunge artist needed the aesthetic of angst and pain to drip from the lyrics to get his point across. <br />
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=== Dynamics ===<br />
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The dynamics of a song is the loudness and or softness at which the song is played at. A song can be played very loudly, fortissimo, or very softly, pianissimo, and it would create a different interpretation of the song. Some genres of music tend to produce quieter music while others like to blast their audience with their music. An artist can also have a range of volumes with many choosing sections of their song to be quieter to emphasize the words or the music’s complexity and others sections being softer to portray emotions. Sometimes the artist wants to create a buildup of tension in the song so he or she will use a crescendo, getting louder, or a decrescendo, getting softer to achieve it. Another part of dynamics, which was touched on in rhythm, is accenting a note or “leaning into a note” <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017. </ref> and it creates a unique sound. It is important to use dynamics because it keeps the music interesting. A lovely example that many people have probably heard before would be in Richard Strauss's Also Sprach Zarathustra, Op. 30. <br><br />
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It starts our pianissimo and then crescendos to fortissimo until it is absolutely blaring. These dynamics are meant to grab the attention of the audience and awaken anyone who has fallen asleep during the very quiet part. Dynamics are an important part of the music creation process due to the fact that a combination of these dynamics creates the genre's signature style. Hardcore rock is known to bombard their audience with sound while other genres such as country tend to have a moderate volume. <br />
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Dynamics is another really important element in grunge music because it can be used as an emphasis on particular parts of the song. The song could go from a verse of quiet reflection to a chorus of raging anger. This element is interlinked with all of the other elements to create the song the way that artist meant to portray it. Many of the grunge artists use dynamics to emphasize the themes of the song. So while many songs of the grunge genre do tend to vacillate between very loud and quiet, not every song does. It all depends on the themes and emotions of the songs. An example of the differences would be comparing the dynamics of Black Hole Sun by Soundgarden and Glycerine by Bush. They are both classified under the genre of grunge music, but they have totally different dynamics. In Black Hole Sun, the first verse starts out pretty quiet to emphasize the almost euphoric nature of words and the invisibility the singer feels. Then in the chorus, there is a large increase in volume which tries to capture the anger and pain of his invisibility. However, in Glycerine, the verse starts out pretty quiet and has a mournful tone and it crescendos ever so slightly into the chorus which is still mournful plus a bit remorseful also. The dynamics are used in grunge as an emphasis on certain feelings and emotions and though some do have a pattern of a quite verse and loud chorus some use other dynamics to get their point across. <br />
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=== Form ===<br />
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In music, the element of form is a combination of the repetition, contrast, and continuity that creates a song’s uniqueness. The form is very dependent on the other elements of music because it is the way the music is arranged. There is a mixture of musical ideas that are carefully arranged to create the meaning behind the music, which is illustrated when the chorus, speaking both lyrically and instrumentally, is repeated. To differentiate the diversions in music, letters such as A, B, C, are used. This is used determine the slight variation in musical patterns. Repetition is often utilized in form to set the theme of the song. This is seen when the chorus is repeated or the verse lyrics change and music stays the same. Repetition in music is known to create continuity and is usually done with a catchy chorus. Contrarily when there is a change or contrast in music, it is often used to note a shift in mood. The form includes a myriad of types including strophic, binary, verse/chorus song, and ternary forms. These types of forms are derived from the repetition, contrast, and continuity referred to previously. The strophic form is when the same music is repeated over and over for several verses of music. This is the most basic form, which lacks contrast and is all repetition. The message the song is trying to portray is usually very elementary. In the binary form, there are two parts. It uses contrast to highlight the question answer music phrasing between the similar phrasing contrasting section. A combination between the binary and strophic forms is the Verse/ Chorus Song form. It alternates between the storytelling verses, which contain different lyrics each verse, and the recurring chorus. <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017</ref>. It creates the feeling of familiarity and allows for many ideas and feelings to be told and then reiterated in the chorus, which is very important in grunge music. The last form being covered is the ternary from. It is a three-part form that has a repletion of the first verse, with different lyrics, which then processes to the chorus and returns back to the theme of the first verse. The form is very diverse in music and can evoke different emotions. So one can see how important it is to grunge music because of its ability to highlight the different parts of the song through repetition, contrast, and continuity. <br />
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Grunge music is primarily about emotions and social issues that plagued many of the youth during that time, so it is very important to have the music bring attention to these issues through the phrasing of the chorus and verses. Songs In the 1990’s many rock songs followed a verse-chorus form, which Brad Osborn likes to call the “verse-chorus paradigm” (Osborn, 2013, p. 23). <ref> Osborn, B. (2013). Subverting the Verse–Chorus Paradigm: Terminally Climactic Forms in Recent Rock Music. Music Theory Spectrum, 35(1), 23-47. doi:10.1525/mts.2013.35.1.23 </ref> or in less layman terms a verse-chorus pattern. Osborn then quotes John Covach who says “In a verse-chorus [form]...the focus of the song is squarely on the chorus...[T]he verses serve primarily to prepare the return of the chorus’’ (Osborn, 2013, p. 23) and this makes the song sound like it’s using the chorus as the main bringer of emotion to the song. Many grunge songs, due to the fact that they are part of the rock genre, did use this form. It allowed many of the emotions of the first verse to be realized and then an overall feeling of dissatisfaction to be released about these feelings. This can especially be seen in “Heart-Shaped Box” by Nirvana, which starts with verse 1 <div style="text-align: center;"> She eyes me like a Pisces when I am weak <br><br />
I've been locked inside your heart-shaped box for weeks <br><br />
I've been drawn into your magnetar pit trap trap <br><br />
I wish I could eat your cancer when you turn black<ref> https://play.google.com/music/preview/Ttdyvwmcelupwuxwf6fsabw2qwq?lyrics=1&utm_source=google&utm_medium=search&utm_campaign=lyrics&pcampaignid=kp-lyrics </ref> </div><br>. The music plays on the use of the verse-chorus form to highlight the emotions of feeling trapped and helpless, which are then built on during the chorus <div style="text-align: center;"> Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice <br><br />
Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice<br><br />
Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice, your advice<ref> https://play.google.com/music/preview/Ttdyvwmcelupwuxwf6fsabw2qwq?lyrics=1&utm_source=google&utm_medium=search&utm_campaign=lyrics&pcampaignid=kp-lyrics </ref> </div><br>. The chorus is emphasizing the trapped feeling the singer is feeling, which he compares to debt. He feels that he is ever in debt and trapped. The next verse, which is musically a mirror of the first verse, but the lyrics speak of the great helpless he feels. This form allows great emphasis on the chorus and it also climaxes at the end when the last chorus is repeated. However, not every grunge song contained this form. In Glycerine by Bush, the song has a much different form, but still allows the emotions of sorrow and regret be portrayed to the audience. <br />
It’s all about the emotions being reached. They did not need to use this form to release and tell all of the audience their problems. It can be reached just as well with other songs <br />
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=Section 2: Elements of Writing a Grunge Song=<br />
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So now that we have a solid understanding of what harmony, rhythm, dynamics, and form are and how they are used in grunge music, we are now ready to write a song that emphasizes the true elements of grunge music. Here we are going to go step by step and identify how to create one of these grunge songs. We will be looking back at both our background and analysis of grunge songs to help us determine the best way to make a number one seller like “Smells Like Teen Spirit” by Nirvana. If one is not familiar with a lot of grunge music, I would suggest looking at my page [[Grunge in London|Grunge in London]]. That page will give you more background and information about the grunge era and includes some of its iconic songs from artists both from America and London. The purpose of this is to create a light-hearted and funny guide that highlights the both the technical aspects of grunge music and its unique sound that was learned in the background. While also pointing out repetitive nature of the themes, its inaudible lyrics, and their creepy videos. This is all made in good fun and is not meant to diminish any of the personal problems that these singers faced. They had very serious problems that some were not able to overcome and many did use music as an outlet to express their emotions. But for our purposes, we are focusing more on the teen angst portion, which contains more insignificant problems like Wi-Fi buffering or not having the latest video game, which is trying to fit in with this current generation of teenagers in a world of technology. From this, we will produce steps to creating a chart-topping, show-stopping, musical genius of a grunge song that has the consideration of the elements of music we analyzed. <br />
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Grunge music was very much known for its aesthetic and its ability to connect with the youth of generation x or those born in the 1990’s. It covered many “distasteful” topics such as depression, suicide, and alienation, which many grunge artists experienced and fought a daily battle to overcome. Today, many still listen to grunge music and find it comforting to know that there were others out there going through the same struggles of feeling forgotten, rejected and lost. But for those who feel that grunge music does not fit in with their technology filled life, they may want to create a grunge song that covers a topic they feel creates negative feelings for them. So to get into the proper mindset to write this song, one must dig deep into the recesses of his or her feelings of teen angst to dig out some sort of darker emotions. May I suggest a YouTube video of a pug who can’t roll over, not having enough phone data, or trying to watch the finale of your favorite show but the Wi-Fi keeps buffering the video? Think of something that is basically insignificant to the rest of the world and only really matters to you. A bad selfie would qualify as a good one also but may need to be prefaced that it was posted to social media and your crush may see it. Horrifying I know! Once you have found the feelings you would like to express in your song, start thinking of how you would like to portray those emotions and what you would like the overall sound to be. These feelings will be the base of your song and all of your further decisions will be based on the mood created by these emotions. I have personally dug out from the recesses of my long-buried teen nerdy angst the feeling of anxiety and sorrow when my code wouldn’t compile. <br><br />
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Your next step is choosing how you would like to portray that to your listeners. I would do this by making it sound like the world will end if the code doesn’t work and that all will be lost. Don’t be afraid to be over dramatic. That’s what attracts people to the music is the drama and emotion. Right? Now that that has been cleared up, the actual song can now be written. One must start with the most crucial part first, the harmony. When done right, the harmony helps to create the emotion of the music. In grunge, musicians experimented with a variety of different techniques and ideas. They wanted to step out of the norm of alternative music. So, they experimented the chords of the music and found that when they distort the note a great deal it produces a much richer sound that reaches higher. Therefore, much of grunge music is written in 3 note chords which stem from a key signature. So, the first part of creating your harmony is deciding what key you would like your song, which you could do by picking you favorite note. I will be arbitrarily picking the key of F major. If you have a favorite key pick that one; it will make it more personal to you. Next, for choosing your chord progressions pick whatever sounds good together. Also, make sure to have at least one modulation of a note in there. It is a grunge classic and a must if you want your song to be grunge. This will create the dissonance you are looking for and will add to any emotion ranging from hatred to anxiety. Wow look at that, after playing with chords for a few hours, you will be able to get some chord progressions that you like. At this stage, you will also have to decide what instruments you would like to use. You honestly can’t go wrong with the grunge classic of guitar, bass guitar and drum set. If you are feeling fancy you could add another instrument to complement your theme and mood.<br><br />
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After your harmony is all figured out, which will probably take a while, you will need to figure out your rhythm. The rhythm as stated before is really based on the emotion of the song so you’re going to need to play around with the speeds until you feel it has reached the right mood to represent the emotions you are trying to portray. Many grunge pieces have a range from 90-120 (bpm), but feel free to choose one that best suits the song. Dynamics is another important part of the piece do to that fact it determines what sections are loud and what sections are softer. Many times gunge utilized dynamics to create a call and response type of sound in the song. It also had the power to create tension in a song so it may work for your song if that is what you are striving for. One may also put accents on different parts of the song where you want to highlight a lyrics. The last thing you’ll need is the form of the song or how it the song is constructed both lyrically and musically. It is all about the repetition of the song of the chorus and its verses. The classic rock and grunge form of the 1990s was the verse-chorus form that focused its attention to the chorus. This is a really nice form for if you are highlighting your chorus. Though all grunge songs did not use this form, they also achieved their aesthetic by used other forms. So feel free to look into other forms that may make your song more grunge. The last requirement to writing a grunge song is lyrics! All grunge songs contained lyrics that expressed their emotions, so make your lyrics emotional and full of angst. As a bonus, have your singer sing very muffled and with almost unintelligible manner. It seemed really popular with bands such as Nirvana and Radiohead. You can't really hear the lyrics but you still felt a deep emotional connection to them. Any of these steps can be done in any order, so maybe start with the harmony or lyrics and form. It's really up to you. Much of the genre was experimentation held together by angst and great chords. And there you have it! You have created the next “Smells Like Teen Spirit”. Now go out and share your amazing song with the world, brace the world for its awesomeness! <br />
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== Musical analysis of songs ==<br />
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Taking what has been learned about harmony, rhythm, dynamics, and form and its importance to grunge music now lets look at some songs created in the "grunge" music style. Keep in mind that you're just taking a small slice of examples and that this table isn't all-encompassing. Also note that some of the harmony listed is a general overview of the keys/tonalities explored. Find out more about grunge music and its history [[Grunge in London|here]]. <br />
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{| class="wikitable" width="80%"<br />
|-<br />
! scope="row"| Grunge Music of the Late 1980's - Mid 1990's<br />
|-<br />
! Musical Elements <br />
! Heart Shaped Box <br />
! Black Hole Sun <br />
! Creep<br />
! Glycerine <br />
! Man in the Box<br />
|-<br />
! scope="row"| Artist <br />
| align="center"| Nirvana <br />
| align="center"| Soundgarden <br />
| align="center"| Radiohead<br />
| align="center"| Bush <br />
| align="center"| Alice in Chains <br />
|-<br />
! scope="row"| Rhythm<br />
| align="center"| <br />
* Time Signature: 4/4<br />
*Tempo: Moderately (108 - 120 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: 120 bpm<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: (90-93 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: Moderately (112-116 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: Moderately (107-109 bpm)<br />
|-<br />
! scope="row"| Harmony<br />
| align="center"| <br />
* Key: A minor<br />
*Major Chords: A5, F5, D5/ A, F5, D7<br />
*Chord Progressions: A5, F5, D5, A, D7<br />
| align="center"|<br />
* Key: F major<br />
*Major Chords: Gsus, G6, Bb6, F5, Em<br />
| align="center"|<br />
* Key: G major<br />
*Major Chords: G, B, C, Cm<br />
*Chord Progressions: G, B, C, Cm<br />
| align="center"|<br />
* Key: F major<br />
*Major Chords: F, C5, D5, Bb5<br />
*Chord Progressions: F, C5, D5, Bb5<br />
| align="center"|<br />
* Key: E minor <br />
* Major Chords: Em, E5, G, D, A<br />
*Chord Progressions: G5 G6 G5 G6 C E5<br />
|-<br />
! scope="row"| Dynamics <br />
| align="center"| <br />
*quite verse and roaring chorus <br />
| align="center"|<br />
*quite verse and roaring chorus <br />
| align="center"|<br />
*quite verse and roaring chorus <br />
*crescendo to chorus <br />
*decrescendo to verse <br />
| align="center"|<br />
*quite crescendo loud moderate level<br />
| align="center"|<br />
*moderate <br />
|-<br />
! scope="row"| Form <br />
| align="center"| <br />
*verse/chorus song form <br />
| align="center"|<br />
*verse/chorus song form <br />
| align="center"|<br />
*verse/chorus song form<br />
| align="center"|<br />
* verse/chorus/ bridge form <br />
| align="center"|<br />
*ABABB Form <br />
|- <br />
|}<br />
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=Conclusion=<br />
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In this project, I did an analysis of music theory from the point of view of grunge music. Music, in general, is so incredibly versatile with its ability to change one element to change the whole song and its intentions. All of the elements of music are important to delivering the music’s message. So I decided to look at grunge music though four of the elements of music to give an in-depth analysis on how these elements create the grunge sound. I also looked for ways the elements of music tied the whole genre together and gave it its particular sound. Grunge music was a unique genre that popped up as a sub-genera of alternative music, so I wanted to see what made it stand out from the rest. I determined that the genre itself was notable for its emotional connection to the music. The artists took advantage of rhythm, form, dynamics, and harmony to fit their feelings of depression, angst, and anger. Most notable they changed the way chords were heard by distorting the music’s sounds. It created a fuller sound and changed the chord progressions. They were very experimental and passionate about their music and led me to a “pattern” in their music, which was that it had to be full of emotion and it had to have distortion of chords that allowed them to modulate certain notes. I was then able to play off of this pattern to create a satirized guide to creating grunge music. In the future, I would like to see more research done on patterns in grunge music because this music created a generation and still inspires many today. <br />
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=External Links=<br />
[[Grunge in London| Grunge in London]]<br />
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=References=<br />
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[[Category:Music Projects]]<br />
[[Category:2017]]<br />
<br><br></div>Kfconroyhttps://londonhuawiki.wpi.edu/index.php?title=Music_Theory_behind_Grunge_Music&diff=18810Music Theory behind Grunge Music2017-06-22T07:05:56Z<p>Kfconroy: </p>
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by [[User:Kfconroy|Katharine Conory]]<br><br />
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=Abstract=<br />
The objective of this milestone is to take all that I have learned from my [[Grunge in London|Grunge in London]] Capstone to analysis the music under the lens of music theory. I hope to be able to see what grunge music has to offer by way of harmony, rhythm, dynamics, and form, which are some of the elements of all music. For my deliverable, I am taking all that I learned from this analysis of grunge music from a music theory background to create my own guide to what a grunge song would contain in the way of harmony, rhythm, dynamics and form with examples of what I would do. <br> <br><br />
For this project, I am drawing back on my past experience with music theory and my violin background. This is slightly challenging due to the fact that harmony for a violin is much simpler for a violin than a guitar. In high school, I took several music classes and was in both chorus and band. I hope to gain more knowledge about music theory and help others understand music as well. <br />
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=Introduction=<br />
This project is meant to introduce those who enjoy music to the music theory or backbone of music that makes it sounds a certain way or gives it a certain emotion. Music is defined by its elements, which allows a certain genre of music sounds different than another. So, I distinguished four important elements of music and did an in-depth analysis of each with a comparison of grunge to popular rock music of that time. From that analysis, I then produced a guide to producing gunge songs from a satirical background with examples of what I would do. <br> <br><br />
In my research, I found that grunge was more covered as a social and ethical topic with little being covered about the music itself. It was difficult to find much on the elements of music in respect to the grunge genre itself, but I did find some info on it under the umbrella of alternative. I discovered that its sound and style was primarily based off of the music’s harmony with the rhythm, form, and dynamics still very important to its overall sound. But, there was no real pattern to the music. Together in had a unique sound due to the harmonic practices, but what really kept the genre a genre was the music’s attitude and the taboo topics it tried to address. Each artist has its own unique style and sound but they all fell into the same genre. This project needs more research to fully grasp the musical differences between grunge music and the popular rock of the time. <br />
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=Section 1: Background=<br />
Grunge was a style choice, a cultural movement and most importantly a music style that appeared in the late 1980’s to the early 1990’s, which songs had focused on topics of a taboo nature such as alienation, depression, and suicide. The movement focused on using their music to enlighten those around them about the problems that they were suffering from, which resonated very well with the youth who were also facing many of those issues. It was very popular and topped many of the more well-known artists. It had a new an appealing sound that differed from the rock and pop music of day. Grunge music is considered to be a sub-genre of rock with heavy overlap with other rock subgenres such as alternative, metal, and punk <ref> STRONG, C. (2016). GRUNGE: music and memory. S.l.: ROUTLEDGE. </ref>.The music contained a dirty and raw sound guitar sound, which gave the genre its name. This music has a significant effect on the culture of the Seattle area where is was started, which is no surprise due to the fact that music has always been a major component of cultural changes in society. There have been many scholarly articles citing its importance and during this time there was a major shift in attitudes towards the world and the people who lived in it, which emphasized the feelings correlated to alienation, depression, and suicide. However one may ask how music, subtracting the lyrics, could evoke such feelings, which in fact brings me to the focus of this capstone; the music theory behind grunge music that gave it its unique sound. <br><br> <br />
The music theory behind grunge music will explain how this music became so unique, but this calls into question of the definition music. In the most literal idea, one can see music as “vibrations in the air that are observed by us and then interpreted as sounds. These sounds play out over time, meaning that music is, therefore, sound over time” <ref> Samama, L., & Clements, D. (2016). What is music? In The Meaning of Music (pp. 27-31). Amsterdam University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/j.ctt1b9x1ts.5</ref>. However, that is way too literal and would infer that all sounds are music like all paintings are works of art. Music is way more sophisticated and can be seen as “multi-dimensional (and a) multimedia phenomenon’’ <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017.</ref>. Therefore music is grouped into seven different elements, which are rhythm, dynamics, melody, harmony, tone color, texture, and form to help identify the key differences between grunge music and say rap. These elements added to the sound and identity of the genre, so much so it stood out from the rest of the alternative genre, which grunge was a subgenre of, during that era. Below I have chosen 4 elements I feel distinguished the grunge genre of from that which was popular during the 1990’s and created the special sound to the music that allowed the artists to express their emotions. <br><br> <br />
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==Musical Elements ==<br />
===Harmony === <br />
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Harmony is very important to the creation of music, due to the fact it the way notes are played in relation to each other. This is a very technical and complex element of music that can be fairly hard to understand, so it is important to start at the beginning. There are seven notes in all of the music, not including all of the flats and sharps, A, B, C, D, E, F, G and these are the building blocks on which songs can then be built. The full list of notes which contain all the flats (b) and sharps (#) starting at A is '''A''', A#/Bb, '''B''', C, '''C#/Db''', '''D''', D#/Eb, '''E''', F, '''F#/Gb''', G, '''G#/Ab''', '''A''' and follows a pattern of 2212221, which gives a scale of A major. The pattern is followed by the bolded letters produces A, B, C#, D, E, F#, G#, and A as the A Major Scale. From the scale, one can then produce all of the chords that can be made from that key. A chord is several notes played together to that are separated by thirds, which produce notes that complement each other very well. The chords for an A major key would contain AC#E I (major), BDF# ii (minor), C#EG# iii (minor), DF#A IV (major), EG#B V (major), F#AC# vi (minor), G#BD vii0 (diminished). To form these 3 note chords, one takes the scale and starts at the first note in the scale, which in our case is A. Then, skip the next note, B, and chose C# to do this again for the third and last note of the chord. Your final chord will be AC#E, which is a major chord and they you do it for B, C#, etc. for the rest of the chords until you come back to your original note A. The chords are in a pattern of major, minor, minor, major, major, minor, and diminished, which are shown by the capitalized Roman numerals rather than the lower case ones and the 0 at the end means diminished. Another name this goes by is diatonic harmony and all this is the way notes relate with each other in a certain key. All of this can be replicated for all of the other keys in music to get chords. These chords then can be played in succession after one another and produce a chord progression. Some commonly used chord progressions in the key of A are ADE (I – IV- V) and BEA (ii-V-I). These chords and chord progression are what creates the harmony in the song and they are often used in term of how harsh they sound. The harshness of chords is quantified into dissonance and consonance. Dissonance is a very harsh sounding harmony and its chords known for creating tension in a piece. Consonance is a smooth sounding harmony that creates consonant chords, which resolves tension created by the dissonant chords. Chords are very important to music because it truly creates the mood of the music. More dissonant sounding music sounds almost unstable, eerie and sad. A really good example is Mozart’s Quartetto K. 465 "delle dissonanze". One can hear the very dissonant beginning and then throughout the rest of the piece, one can hear how dissonance is resolved by consonance (The Elements Of Music, 2017, p. 3). <htmltag tagname="iframe" id= width="200" height="150" src="https://www.youtube.com/embed/08uY0-ehL-w" frameborder="0" allowfullscreen></htmltag> <br />
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In grunge music, harmony played a large part in creating its aesthetic and sound. This music was very powerful and was known to use “power chords” (McDonald, 2000, p.355) as a “set of harmonic practices that rock musicians, particularly those who participate in the domain of guitar-oriented 'alternative' rock, have been using” (McDonald, 2000, p.355) <ref> McDonald, C. (2000). Exploring modal subversions in alternative music. Popular Music, 19(3), 355-363. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/853641 </ref>. These musicians were trying to break the mold of rock and alternative music so they tried new practices such as distorting the guitar’s sounds and choosing unique chord combinations. An example of this was the change of the power chords, which are normally fifths or fourths (McDonald, 2000, p.356). However, do to the heavy guitar distortion, created by overloading the signal into the amplifier, it created a more complex sound that allowed more sound to come from the notes played. This distortion allowed chords done in thirds to have a richer and fuller sounds and as a byproduct created a very dissonant sound (Biamonte, 2010, p. 97). Another in interesting part to grunge’s harmony was its use of “third or cross relations” (McDonald, 2000, p.357) that allows songs that were written in the key of A major and as we determined before C# would be the C note used, however in grunge music the C would incongruently change a minor third to C5 or Cb. This is what author Chris McDonald calls “modal subversion” (McDonald, 2000, p.357). It used constantly in these songs and an example of it would be in “Smells like Teen Spirit” by Nirvana. In this song the key is in F minor and in that scale A is natural but in “Smells like Teen Spirit” the A modulates to Ab (Osborn, 2013, 31) <ref> Osborn, B. (2013). Subverting the Verse–Chorus paradigm; terminally climactic forms in recent rock music. Music Theory Spectrum, 35(1), 23-47. doi:10.1525/mts.2013.35.1.23 <br />
</ref>. This a common theme in many grunge songs and gives its unique sounds, aesthetic, and emotion. <br />
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=== Rhythm ===<br />
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In music, the rhythm of a song is the time in which a song is played. This can be seen when a person is tapping one’s foot to the beat. The rhythm of the song is very important in creating the emotions of the song due to the fact that it determines how fast the piece is going to be. Encompassed in rhythm are sub-topics of duration, tempo, and meter, which helps the listener and musician to follow the structure of the piece. Rhythm tends to be more the technical part of the song but it carries much importance because without it the song would be a mess of lyrics and instruments without direction. So the duration is the length of time between each note and silence. It is used to bring attention to a certain section of the song because a very long note or silence is jarring to the listener. A silence can bring emphasis to the next note and add a complexity to the tempo of the song. The meter of the song is the repetition of accents and stresses that are arranged into the recognizable beat of the song. In a song, the accented notes tend to be the first note of the measure, however, to create more drama many artists utilize syncopation or the putting of accents on off-beats. The meter is emphasized by the song’s tempo or speed at which the beat is played. It is often known as beats per minute (bpm). The tempo of the song determines the level of excitement and mood of the song. It has been said by Gow that “the time-pattern upon his attention must be the excuse for the common conception of rhythm as the emotional element in music” (Gow, 1915, p. 637) or in layman terms. The pattern of sound, silence, and speed adds significantly to the emotions and feeling drawn from the piece so it is imperative that the artist uses the correct rhythm and tempo for the desired effect. An example of this would be how slow blues music tends to be around the 60 bpm and rock and roll music tends to be about 175 bpm. (Gow, 1915, p. 637- 642)<ref> Gow, G. (1915). Rhythm: The Life of Music. The Musical Quarterly, 1(4), 637-652. Retrieved from http://www.jstor.org/stable/738071 </ref> <br />
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Grunge music is all about the aesthetic of the music and many times it is difficult to derive the meaning of the lyrics due to the vocal quality or symbolic meaning of the lyrics. So it’s imperative to set the right tone via the rhythm because without that the song could be changed from a very dark and emotional piece to one that sounds happy and light. Therefore, the duration of the notes and silences have to create drama and angst. The meter must accentuate the right beat and word of the lyrics to make them pop. One consistency round most grunge music is its timed meter, which was 4/4 time or four beats per measure. The emphasis on notes tended to be inconsistent though because it was really dependent on the lyrics. Some songs did use accents of off-beats to draw more attention to one part or another. Meter also creates the structure to the song. Without that the song has very similar and boring notes with no structure. The tempo has to give the song the right attitude. So in grunge music artists wanted a tempo to reflect sadness and depression that they often felt, but they but they wanted to be interesting and attention grabbing. So many artist chooses tempos from around 90-120 (bpm) there was no exact range to the tempos. It was really up to the musician’s ear. However, one can tell that the artist chose the right tempo, if the emotions were portrayed foremost in the music. A good example would be to speed up or slow down a grunge song.<br />
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When that is done, ignoring the higher pitch of Cobain's voice, it is obvious that one will not get the same emphasis on themes of the music leaving the song useless to the artist. The grunge artist needed the aesthetic of angst and pain to drip from the lyrics to get his point across. <br />
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=== Dynamics ===<br />
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The dynamics of a song is the loudness and or softness at which the song is played at. A song can be played very loudly, fortissimo, or very softly, pianissimo, and it would create a different interpretation of the song. Some genres of music tend to produce quieter music while others like to blast their audience with their music. An artist can also have a range of volumes with many choosing sections of their song to be quieter to emphasize the words or the music’s complexity and others sections being softer to portray emotions. Sometimes the artist wants to create a buildup of tension in the song so he or she will use a crescendo, getting louder, or a decrescendo, getting softer to achieve it. Another part of dynamics, which was touched on in rhythm, is accenting a note or “leaning into a note” <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017. </ref> and it creates a unique sound. It is important to use dynamics because it keeps the music interesting. A lovely example that many people have probably heard before would be in Richard Strauss's Also Sprach Zarathustra, Op. 30. <br><br />
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It starts our pianissimo and then crescendos to fortissimo until it is absolutely blaring. These dynamics are meant to grab the attention of the audience and awaken anyone who has fallen asleep during the very quiet part. Dynamics are an important part of the music creation process due to the fact that a combination of these dynamics creates the genre's signature style. Hardcore rock is known to bombard their audience with sound while other genres such as country tend to have a moderate volume. <br />
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Dynamics is another really important element in grunge music because it can be used as an emphasis on particular parts of the song. The song could go from a verse of quiet reflection to a chorus of raging anger. This element is interlinked with all of the other elements to create the song the way that artist meant to portray it. Many of the grunge artists use dynamics to emphasize the themes of the song. So while many songs of the grunge genre do tend to vacillate between very loud and quiet, not every song does. It all depends on the themes and emotions of the songs. An example of the differences would be comparing the dynamics of Black Hole Sun by Soundgarden and Glycerine by Bush. They are both classified under the genre of grunge music, but they have totally different dynamics. In Black Hole Sun, the first verse starts out pretty quiet to emphasize the almost euphoric nature of words and the invisibility the singer feels. Then in the chorus, there is a large increase in volume which tries to capture the anger and pain of his invisibility. However, in Glycerine, the verse starts out pretty quiet and has a mournful tone and it crescendos ever so slightly into the chorus which is still mournful plus a bit remorseful also. The dynamics are used in grunge as an emphasis on certain feelings and emotions and though some do have a pattern of a quite verse and loud chorus some use other dynamics to get their point across. <br />
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=== Form ===<br />
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In music, the element of form is a combination of the repetition, contrast, and continuity that creates a song’s uniqueness. The form is very dependent on the other elements of music because it is the way the music is arranged. There is a mixture of musical ideas that are carefully arranged to create the meaning behind the music, which is illustrated when the chorus, speaking both lyrically and instrumentally, is repeated. To differentiate the diversions in music, letters such as A, B, C, are used. This is used determine the slight variation in musical patterns. Repetition is often utilized in form to set the theme of the song. This is seen when the chorus is repeated or the verse lyrics change and music stays the same. Repetition in music is known to create continuity and is usually done with a catchy chorus. Contrarily when there is a change or contrast in music, it is often used to note a shift in mood. The form includes a myriad of types including strophic, binary, verse/chorus song, and ternary forms. These types of forms are derived from the repetition, contrast, and continuity referred to previously. The strophic form is when the same music is repeated over and over for several verses of music. This is the most basic form, which lacks contrast and is all repetition. The message the song is trying to portray is usually very elementary. In the binary form, there are two parts. It uses contrast to highlight the question answer music phrasing between the similar phrasing contrasting section. A combination between the binary and strophic forms is the Verse/ Chorus Song form. It alternates between the storytelling verses, which contain different lyrics each verse, and the recurring chorus. <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017</ref>. It creates the feeling of familiarity and allows for many ideas and feelings to be told and then reiterated in the chorus, which is very important in grunge music. The last form being covered is the ternary from. It is a three-part form that has a repletion of the first verse, with different lyrics, which then processes to the chorus and returns back to the theme of the first verse. The form is very diverse in music and can evoke different emotions. So one can see how important it is to grunge music because of its ability to highlight the different parts of the song through repetition, contrast, and continuity. <br />
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Grunge music is primarily about emotions and social issues that plagued many of the youth during that time, so it is very important to have the music bring attention to these issues through the phrasing of the chorus and verses. Songs In the 1990’s many rock songs followed a verse-chorus form, which Brad Osborn likes to call the “verse-chorus paradigm” (Osborn, 2013, p. 23). <ref> Osborn, B. (2013). Subverting the Verse–Chorus Paradigm: Terminally Climactic Forms in Recent Rock Music. Music Theory Spectrum, 35(1), 23-47. doi:10.1525/mts.2013.35.1.23 </ref> or in less layman terms a verse-chorus pattern. Osborn then quotes John Covach who says “In a verse-chorus [form]...the focus of the song is squarely on the chorus...[T]he verses serve primarily to prepare the return of the chorus’’ (Osborn, 2013, p. 23) and this makes the song sound like it’s using the chorus as the main bringer of emotion to the song. Many grunge songs, due to the fact that they are part of the rock genre, did use this form. It allowed many of the emotions of the first verse to be realized and then an overall feeling of dissatisfaction to be released about these feelings. This can especially be seen in “Heart-Shaped Box” by Nirvana, which starts with verse 1 <div style="text-align: center;"> She eyes me like a Pisces when I am weak <br><br />
I've been locked inside your heart-shaped box for weeks <br><br />
I've been drawn into your magnetar pit trap trap <br><br />
I wish I could eat your cancer when you turn black<ref> https://play.google.com/music/preview/Ttdyvwmcelupwuxwf6fsabw2qwq?lyrics=1&utm_source=google&utm_medium=search&utm_campaign=lyrics&pcampaignid=kp-lyrics </ref> </div><br>. The music plays on the use of the verse-chorus form to highlight the emotions of feeling trapped and helpless, which are then built on during the chorus <div style="text-align: center;"> Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice <br><br />
Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice<br><br />
Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice, your advice<ref> https://play.google.com/music/preview/Ttdyvwmcelupwuxwf6fsabw2qwq?lyrics=1&utm_source=google&utm_medium=search&utm_campaign=lyrics&pcampaignid=kp-lyrics </ref> </div><br>. The chorus is emphasizing the trapped feeling the singer is feeling, which he compares to debt. He feels that he is ever in debt and trapped. The next verse, which is musically a mirror of the first verse, but the lyrics speak of the great helpless he feels. This form allows great emphasis on the chorus and it also climaxes at the end when the last chorus is repeated. However, not every grunge song contained this form. In Glycerine by Bush, the song has a much different form, but still allows the emotions of sorrow and regret be portrayed to the audience. <br />
It’s all about the emotions being reached. They did not need to use this form to release and tell all of the audience their problems. It can be reached just as well with other songs <br />
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=Section 2: Elements of Writing a Grunge Song=<br />
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So now that we have a solid understanding of what harmony, rhythm, dynamics, and form are and how they are used in grunge music, we are now ready to write a song that emphasizes the true elements of grunge music. Here we are going to go step by step and identify how to create one of these grunge songs. We will be looking back at both our background and analysis of grunge songs to help us determine the best way to make a number one seller like “Smells Like Teen Spirit” by Nirvana. If one is not familiar with a lot of grunge music, I would suggest looking at my page [[Grunge in London|Grunge in London]]. That page will give you more background and information about the grunge era and includes some of its iconic songs from artists both from America and London. The purpose of this is to create a light-hearted and funny guide that highlights the both the technical aspects of grunge music and its unique sound that was learned in the background. While also pointing out repetitive nature of the themes, its inaudible lyrics, and their creepy videos. This is all made in good fun and is not meant to diminish any of the personal problems that these singers faced. They had very serious problems that some were not able to overcome and many did use music as an outlet to express their emotions. But for our purposes, we are focusing more on the teen angst portion, which contains more insignificant problems like Wi-Fi buffering or not having the latest video game, which is trying to fit in with this current generation of teenagers in a world of technology. From this, we will produce steps to creating a chart-topping, show-stopping, musical genius of a grunge song that has the consideration of the elements of music we analyzed. <br />
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Grunge music was very much known for its aesthetic and its ability to connect with the youth of generation x or those born in the 1990’s. It covered many “distasteful” topics such as depression, suicide, and alienation, which many grunge artists experienced and fought a daily battle to overcome. Today, many still listen to grunge music and find it comforting to know that there were others out there going through the same struggles of feeling forgotten, rejected and lost. But for those who feel that grunge music does not fit in with their technology filled life, they may want to create a grunge song that covers a topic they feel creates negative feelings for them. So to get into the proper mindset to write this song, one must dig deep into the recesses of his or her feelings of teen angst to dig out some sort of darker emotions. May I suggest a YouTube video of a pug who can’t roll over, not having enough phone data, or trying to watch the finale of your favorite show but the Wi-Fi keeps buffering the video? Think of something that is basically insignificant to the rest of the world and only really matters to you. A bad selfie would qualify as a good one also but may need to be prefaced that it was posted to social media and your crush may see it. Horrifying I know! Once you have found the feelings you would like to express in your song, start thinking of how you would like to portray those emotions and what you would like the overall sound to be. These feelings will be the base of your song and all of your further decisions will be based on the mood created by these emotions. I have personally dug out from the recesses of my long-buried teen nerdy angst the feeling of anxiety and sorrow when my code wouldn’t compile. <br><br />
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Your next step is choosing how you would like to portray that to your listeners. I would do this by making it sound like the world will end if the code doesn’t work and that all will be lost. Don’t be afraid to be over dramatic. That’s what attracts people to the music is the drama and emotion. Right? Now that that has been cleared up, the actual song can now be written. One must start with the most crucial part first, the harmony. When done right, the harmony helps to create the emotion of the music. In grunge, musicians experimented with a variety of different techniques and ideas. They wanted to step out of the norm of alternative music. So, they experimented the chords of the music and found that when they distort the note a great deal it produces a much richer sound that reaches higher. Therefore, much of grunge music is written in 3 note chords which stem from a key signature. So, the first part of creating your harmony is deciding what key you would like your song, which you could do by picking you favorite note. I will be arbitrarily picking the key of F major. If you have a favorite key pick that one; it will make it more personal to you. Next, for choosing your chord progressions pick whatever sounds good together. Also, make sure to have at least one modulation of a note in there. It is a grunge classic and a must if you want your song to be grunge. This will create the dissonance you are looking for and will add to any emotion ranging from hatred to anxiety. Wow look at that, after playing with chords for a few hours, you will be able to get some chord progressions that you like. At this stage, you will also have to decide what instruments you would like to use. You honestly can’t go wrong with the grunge classic of guitar, bass guitar and drum set. If you are feeling fancy you could add another instrument to complement your theme and mood.<br><br />
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After your harmony is all figured out, which will probably take a while, you will need to figure out your rhythm. The rhythm as stated before is really based on the emotion of the song so you’re going to need to play around with the speeds until you feel it has reached the right mood to represent the emotions you are trying to portray. Many grunge pieces have a range from 90-120 (bpm), but feel free to choose one that best suits the song. Dynamics is another important part of the piece do to that fact it determines what sections are loud and what sections are softer. Many times gunge utilized dynamics to create a call and response type of sound in the song. It also had the power to create tension in a song so it may work for your song if that is what you are striving for. One may also put accents on different parts of the song where you want to highlight a lyrics. The last thing you’ll need is the form of the song or how it the song is constructed both lyrically and musically. It is all about the repetition of the song of the chorus and its verses. The classic rock and grunge form of the 1990s was the verse-chorus form that focused its attention to the chorus. This is a really nice form for if you are highlighting your chorus. Though all grunge songs did not use this form, they also achieved their aesthetic by used other forms. So feel free to look into other forms that may make your song more grunge. The last requirement to writing a grunge song is lyrics! All grunge songs contained lyrics that expressed their emotions, so make your lyrics emotional and full of angst. As a bonus, have your singer sing very muffled and with almost unintelligible manner. It seemed really popular with bands such as Nirvana and Radiohead. You can't really hear the lyrics but you still felt a deep emotional connection to them. Any of these steps can be done in any order, so maybe start with the harmony or lyrics and form. It's really up to you. Much of the genre was experimentation held together by angst and great chords. And there you have it! You have created the next “Smells Like Teen Spirit”. Now go out and share your amazing song with the world, brace the world for its awesomeness! <br />
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== Musical analysis of songs ==<br />
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Taking what has been learned about harmony, rhythm, dynamics, and form and its importance to grunge music now lets look at some songs created in the "grunge" music style. Keep in mind that you're just taking a small slice of examples and that this table isn't all-encompassing. Also note that some of the harmony listed is a general overview of the keys/tonalities explored. Find out more about grunge music and its history [[Grunge in London|here]]. <br />
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{| class="wikitable" width="80%"<br />
|-<br />
! scope="row"| Grunge Music of the Late 1980's - Mid 1990's<br />
|-<br />
! Musical Elements <br />
! Heart Shaped Box <br />
! Black Hole Sun <br />
! Creep<br />
! Glycerine <br />
! Man in the Box<br />
|-<br />
! scope="row"| Artist <br />
| align="center"| Nirvana <br />
| align="center"| Soundgarden <br />
| align="center"| Radiohead<br />
| align="center"| Bush <br />
| align="center"| Alice in Chains <br />
|-<br />
! scope="row"| Rhythm<br />
| align="center"| <br />
* Time Signature: 4/4<br />
*Tempo: Moderately (108 - 120 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: 120 bpm<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: (90-93 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: Moderately (112-116 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: Moderately (107-109 bpm)<br />
|-<br />
! scope="row"| Harmony<br />
| align="center"| <br />
* Key: A minor<br />
*Major Chords: A5, F5, D5/ A, F5, D7<br />
*Chord Progressions: A5, F5, D5, A, D7<br />
| align="center"|<br />
* Key: F major<br />
*Major Chords: Gsus, G6, Bb6, F5, Em<br />
| align="center"|<br />
* Key: G major<br />
*Major Chords: G, B, C, Cm<br />
*Chord Progressions: G, B, C, Cm<br />
| align="center"|<br />
* Key: F major<br />
*Major Chords: F, C5, D5, Bb5<br />
*Chord Progressions: F, C5, D5, Bb5<br />
| align="center"|<br />
* Key: E minor <br />
* Major Chords: Em, E5, G, D, A<br />
*Chord Progressions: G5 G6 G5 G6 C E5<br />
|-<br />
! scope="row"| Dynamics <br />
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*quite verse and roaring chorus <br />
| align="center"|<br />
*quite verse and roaring chorus <br />
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*quite verse and roaring chorus <br />
*crescendo to chorus <br />
*decrescendo to verse <br />
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*quite crescendo loud moderate level<br />
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*moderate <br />
|-<br />
! scope="row"| Form <br />
| align="center"| <br />
*verse/chorus song form <br />
| align="center"|<br />
*verse/chorus song form <br />
| align="center"|<br />
*verse/chorus song form<br />
| align="center"|<br />
* verse/chorus/ bridge form <br />
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*ABABB Form <br />
|- <br />
|}<br />
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=Conclusion=<br />
<br><br />
In this project, I did an analysis of music theory from the point of view of grunge music. Music, in general, is so incredibly versatile with its ability to change one element to change the whole song and its intentions. All of the elements of music are important to delivering the music’s message. So I decided to look at grunge music though four of the elements of music to give an in-depth analysis on how these elements create the grunge sound. I also looked for ways the elements of music tied the whole genre together and gave it its particular sound. Grunge music was a unique genre that popped up as a sub-genera of alternative music, so I wanted to see what made it stand out from the rest. I determined that the genre itself was notable for its emotional connection to the music. The artists took advantage of rhythm, form, dynamics, and harmony to fit their feelings of depression, angst, and anger. Most notable they changed the way chords were heard by distorting the music’s sounds. It created a fuller sound and changed the chord progressions. They were very experimental and passionate about their music and led me to a “pattern” in their music, which was that it had to be full of emotion and it had to have distortion of chords that allowed them to modulate certain notes. I was then able to play off of this pattern to create a satirized guide to creating grunge music. In the future, I would like to see more research done on patterns in grunge music because this music created a generation and still inspires many today. <br />
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=External Links=<br />
[[Grunge in London| Grunge in London]]<br />
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=References=<br />
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[[Category:Music Projects]]<br />
[[Category:2017]]<br />
<br><br></div>Kfconroyhttps://londonhuawiki.wpi.edu/index.php?title=Music_Theory_behind_Grunge_Music&diff=18809Music Theory behind Grunge Music2017-06-22T07:04:49Z<p>Kfconroy: </p>
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by [[User:Kfconroy|Katharine Conory]]<br><br />
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=Abstract=<br />
The objective of this milestone is to take all that I have learned from my [[Grunge in London|Grunge in London]] Capstone to analysis the music under the lens of music theory. I hope to be able to see what grunge music has to offer by way of harmony, rhythm, dynamics, and form, which are some of the elements of all music. For my deliverable, I am taking all that I learned from this analysis of grunge music from a music theory background to create my own guide to what a grunge song would contain in the way of harmony, rhythm, dynamics and form with examples of what I would do. <br> <br><br />
For this project, I am drawing back on my past experience with music theory and my violin background. This is slightly challenging due to the fact that harmony for a violin is much simpler for a violin than a guitar. In high school, I took several music classes and was in both chorus and band. I hope to gain more knowledge about music theory and help others understand music as well. <br />
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<br />
=Introduction=<br />
This project is meant to introduce those who enjoy music to the music theory or backbone of music that makes it sounds a certain way or gives it a certain emotion. Music is defined by its elements, which allows a certain genre of music sounds different than another. So, I distinguished four important elements of music and did an in-depth analysis of each with a comparison of grunge to popular rock music of that time. From that analysis, I then produced a guide to producing gunge songs from a satirical background with examples of what I would do. <br> <br><br />
In my research, I found that grunge was more covered as a social and ethical topic with little being covered about the music itself. It was difficult to find much on the elements of music in respect to the grunge genre itself, but I did find some info on it under the umbrella of alternative. I discovered that its sound and style was primarily based off of the music’s harmony with the rhythm, form, and dynamics still very important to its overall sound. But, there was no real pattern to the music. Together in had a unique sound due to the harmonic practices, but what really kept the genre a genre was the music’s attitude and the taboo topics it tried to address. Each artist has its own unique style and sound but they all fell into the same genre. This project needs more research to fully grasp the musical differences between grunge music and the popular rock of the time. <br />
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<br />
=Section 1: Background=<br />
Grunge was a style choice, a cultural movement and most importantly a music style that appeared in the late 1980’s to the early 1990’s, which songs had focused on topics of a taboo nature such as alienation, depression, and suicide. The movement focused on using their music to enlighten those around them about the problems that they were suffering from, which resonated very well with the youth who were also facing many of those issues. It was very popular and topped many of the more well-known artists. It had a new an appealing sound that differed from the rock and pop music of day. Grunge music is considered to be a sub-genre of rock with heavy overlap with other rock subgenres such as alternative, metal, and punk <ref> STRONG, C. (2016). GRUNGE: music and memory. S.l.: ROUTLEDGE. </ref>.The music contained a dirty and raw sound guitar sound, which gave the genre its name. This music has a significant effect on the culture of the Seattle area where is was started, which is no surprise due to the fact that music has always been a major component of cultural changes in society. There have been many scholarly articles citing its importance and during this time there was a major shift in attitudes towards the world and the people who lived in it, which emphasized the feelings correlated to alienation, depression, and suicide. However one may ask how music, subtracting the lyrics, could evoke such feelings, which in fact brings me to the focus of this capstone; the music theory behind grunge music that gave it its unique sound. <br><br> <br />
The music theory behind grunge music will explain how this music became so unique, but this calls into question of the definition music. In the most literal idea, one can see music as “vibrations in the air that are observed by us and then interpreted as sounds. These sounds play out over time, meaning that music is, therefore, sound over time” <ref> Samama, L., & Clements, D. (2016). What is music? In The Meaning of Music (pp. 27-31). Amsterdam University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/j.ctt1b9x1ts.5</ref>. However, that is way too literal and would infer that all sounds are music like all paintings are works of art. Music is way more sophisticated and can be seen as “multi-dimensional (and a) multimedia phenomenon’’ <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017.</ref>. Therefore music is grouped into seven different elements, which are rhythm, dynamics, melody, harmony, tone color, texture, and form to help identify the key differences between grunge music and say rap. These elements added to the sound and identity of the genre, so much so it stood out from the rest of the alternative genre, which grunge was a subgenre of, during that era. Below I have chosen 4 elements I feel distinguished the grunge genre of from that which was popular during the 1990’s and created the special sound to the music that allowed the artists to express their emotions. <br><br> <br />
<br />
==Musical Elements ==<br />
===Harmony === <br />
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Harmony is very important to the creation of music, due to the fact it the way notes are played in relation to each other. This is a very technical and complex element of music that can be fairly hard to understand, so it is important to start at the beginning. There are seven notes in all of the music, not including all of the flats and sharps, A, B, C, D, E, F, G and these are the building blocks on which songs can then be built. The full list of notes which contain all the flats (b) and sharps (#) starting at A is '''A''', A#/Bb, '''B''', C, '''C#/Db''', '''D''', D#/Eb, '''E''', F, '''F#/Gb''', G, '''G#/Ab''', '''A''' and follows a pattern of 2212221, which gives a scale of A major. The pattern is followed by the bolded letters produces A, B, C#, D, E, F#, G#, and A as the A Major Scale. From the scale, one can then produce all of the chords that can be made from that key. A chord is several notes played together to that are separated by thirds, which produce notes that complement each other very well. The chords for an A major key would contain AC#E I (major), BDF# ii (minor), C#EG# iii (minor), DF#A IV (major), EG#B V (major), F#AC# vi (minor), G#BD vii0 (diminished). To form these 3 note chords, one takes the scale and starts at the first note in the scale, which in our case is A. Then, skip the next note, B, and chose C# to do this again for the third and last note of the chord. Your final chord will be AC#E, which is a major chord and they you do it for B, C#, etc. for the rest of the chords until you come back to your original note A. The chords are in a pattern of major, minor, minor, major, major, minor, and diminished, which are shown by the capitalized Roman numerals rather than the lower case ones and the 0 at the end means diminished. Another name this goes by is diatonic harmony and all this is the way notes relate with each other in a certain key. All of this can be replicated for all of the other keys in music to get chords. These chords then can be played in succession after one another and produce a chord progression. Some commonly used chord progressions in the key of A are ADE (I – IV- V) and BEA (ii-V-I). These chords and chord progression are what creates the harmony in the song and they are often used in term of how harsh they sound. The harshness of chords is quantified into dissonance and consonance. Dissonance is a very harsh sounding harmony and its chords known for creating tension in a piece. Consonance is a smooth sounding harmony that creates consonant chords, which resolves tension created by the dissonant chords. Chords are very important to music because it truly creates the mood of the music. More dissonant sounding music sounds almost unstable, eerie and sad. A really good example is Mozart’s Quartetto K. 465 "delle dissonanze". One can hear the very dissonant beginning and then throughout the rest of the piece, one can hear how dissonance is resolved by consonance (The Elements Of Music, 2017, p. 3). <htmltag tagname="iframe" id= width="200" height="150" src="https://www.youtube.com/embed/08uY0-ehL-w" frameborder="0" allowfullscreen></htmltag> <br />
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In grunge music, harmony played a large part in creating its aesthetic and sound. This music was very powerful and was known to use “power chords” (McDonald, 2000, p.355) as a “set of harmonic practices that rock musicians, particularly those who participate in the domain of guitar-oriented 'alternative' rock, have been using” (McDonald, 2000, p.355) <ref> McDonald, C. (2000). Exploring modal subversions in alternative music. Popular Music, 19(3), 355-363. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/853641 </ref>. These musicians were trying to break the mold of rock and alternative music so they tried new practices such as distorting the guitar’s sounds and choosing unique chord combinations. An example of this was the change of the power chords, which are normally fifths or fourths (McDonald, 2000, p.356). However, do to the heavy guitar distortion, created by overloading the signal into the amplifier, it created a more complex sound that allowed more sound to come from the notes played. This distortion allowed chords done in thirds to have a richer and fuller sounds and as a byproduct created a very dissonant sound (Biamonte, 2010, p. 97). Another in interesting part to grunge’s harmony was its use of “third or cross relations” (McDonald, 2000, p.357) that allows songs that were written in the key of A major and as we determined before C# would be the C note used, however in grunge music the C would incongruently change a minor third to C5 or Cb. This is what author Chris McDonald calls “modal subversion” (McDonald, 2000, p.357). It used constantly in these songs and an example of it would be in “Smells like Teen Spirit” by Nirvana. In this song the key is in F minor and in that scale A is natural but in “Smells like Teen Spirit” the A modulates to Ab (Osborn, 2013, 31) <ref> Osborn, B. (2013). Subverting the Verse–Chorus paradigm; terminally climactic forms in recent rock music. Music Theory Spectrum, 35(1), 23-47. doi:10.1525/mts.2013.35.1.23 <br />
</ref>. This a common theme in many grunge songs and gives its unique sounds, aesthetic, and emotion. <br />
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=== Rhythm ===<br />
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In music, the rhythm of a song is the time in which a song is played. This can be seen when a person is tapping one’s foot to the beat. The rhythm of the song is very important in creating the emotions of the song due to the fact that it determines how fast the piece is going to be. Encompassed in rhythm are sub-topics of duration, tempo, and meter, which helps the listener and musician to follow the structure of the piece. Rhythm tends to be more the technical part of the song but it carries much importance because without it the song would be a mess of lyrics and instruments without direction. So the duration is the length of time between each note and silence. It is used to bring attention to a certain section of the song because a very long note or silence is jarring to the listener. A silence can bring emphasis to the next note and add a complexity to the tempo of the song. The meter of the song is the repetition of accents and stresses that are arranged into the recognizable beat of the song. In a song, the accented notes tend to be the first note of the measure, however, to create more drama many artists utilize syncopation or the putting of accents on off-beats. The meter is emphasized by the song’s tempo or speed at which the beat is played. It is often known as beats per minute (bpm). The tempo of the song determines the level of excitement and mood of the song. It has been said by Gow that “the time-pattern upon his attention must be the excuse for the common conception of rhythm as the emotional element in music” (Gow, 1915, p. 637) or in layman terms. The pattern of sound, silence, and speed adds significantly to the emotions and feeling drawn from the piece so it is imperative that the artist uses the correct rhythm and tempo for the desired effect. An example of this would be how slow blues music tends to be around the 60 bpm and rock and roll music tends to be about 175 bpm. (Gow, 1915, p. 637- 642)<ref> Gow, G. (1915). Rhythm: The Life of Music. The Musical Quarterly, 1(4), 637-652. Retrieved from http://www.jstor.org/stable/738071 </ref> <br />
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Grunge music is all about the aesthetic of the music and many times it is difficult to derive the meaning of the lyrics due to the vocal quality or symbolic meaning of the lyrics. So it’s imperative to set the right tone via the rhythm because without that the song could be changed from a very dark and emotional piece to one that sounds happy and light. Therefore, the duration of the notes and silences have to create drama and angst. The meter must accentuate the right beat and word of the lyrics to make them pop. One consistency round most grunge music is its timed meter, which was 4/4 time or four beats per measure. The emphasis on notes tended to be inconsistent though because it was really dependent on the lyrics. Some songs did use accents of off-beats to draw more attention to one part or another. Meter also creates the structure to the song. Without that the song has very similar and boring notes with no structure. The tempo has to give the song the right attitude. So in grunge music artists wanted a tempo to reflect sadness and depression that they often felt, but they but they wanted to be interesting and attention grabbing. So many artist chooses tempos from around 90-120 (bpm) there was no exact range to the tempos. It was really up to the musician’s ear. However, one can tell that the artist chose the right tempo, if the emotions were portrayed foremost in the music. A good example would be to speed up or slow down a grunge song.<br />
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When that is done, ignoring the higher pitch of Cobain's voice, it is obvious that one will not get the same emphasis on themes of the music leaving the song useless to the artist. The grunge artist needed the aesthetic of angst and pain to drip from the lyrics to get his point across. <br />
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=== Dynamics ===<br />
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The dynamics of a song is the loudness and or softness at which the song is played at. A song can be played very loudly, fortissimo, or very softly, pianissimo, and it would create a different interpretation of the song. Some genres of music tend to produce quieter music while others like to blast their audience with their music. An artist can also have a range of volumes with many choosing sections of their song to be quieter to emphasize the words or the music’s complexity and others sections being softer to portray emotions. Sometimes the artist wants to create a buildup of tension in the song so he or she will use a crescendo, getting louder, or a decrescendo, getting softer to achieve it. Another part of dynamics, which was touched on in rhythm, is accenting a note or “leaning into a note” <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017. </ref> and it creates a unique sound. It is important to use dynamics because it keeps the music interesting. A lovely example that many people have probably heard before would be in Richard Strauss's Also Sprach Zarathustra, Op. 30. <br><br />
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It starts our pianissimo and then crescendos to fortissimo until it is absolutely blaring. These dynamics are meant to grab the attention of the audience and awaken anyone who has fallen asleep during the very quiet part. Dynamics are an important part of the music creation process due to the fact that a combination of these dynamics creates the genre's signature style. Hardcore rock is known to bombard their audience with sound while other genres such as country tend to have a moderate volume. <br />
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Dynamics is another really important element in grunge music because it can be used as an emphasis on particular parts of the song. The song could go from a verse of quiet reflection to a chorus of raging anger. This element is interlinked with all of the other elements to create the song the way that artist meant to portray it. Many of the grunge artists use dynamics to emphasize the themes of the song. So while many songs of the grunge genre do tend to vacillate between very loud and quiet, not every song does. It all depends on the themes and emotions of the songs. An example of the differences would be comparing the dynamics of Black Hole Sun by Soundgarden and Glycerine by Bush. They are both classified under the genre of grunge music, but they have totally different dynamics. In Black Hole Sun, the first verse starts out pretty quiet to emphasize the almost euphoric nature of words and the invisibility the singer feels. Then in the chorus, there is a large increase in volume which tries to capture the anger and pain of his invisibility. However, in Glycerine, the verse starts out pretty quiet and has a mournful tone and it crescendos ever so slightly into the chorus which is still mournful plus a bit remorseful also. The dynamics are used in grunge as an emphasis on certain feelings and emotions and though some do have a pattern of a quite verse and loud chorus some use other dynamics to get their point across. <br />
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=== Form ===<br />
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In music, the element of form is a combination of the repetition, contrast, and continuity that creates a song’s uniqueness. The form is very dependent on the other elements of music because it is the way the music is arranged. There is a mixture of musical ideas that are carefully arranged to create the meaning behind the music, which is illustrated when the chorus, speaking both lyrically and instrumentally, is repeated. To differentiate the diversions in music, letters such as A, B, C, are used. This is used determine the slight variation in musical patterns. Repetition is often utilized in form to set the theme of the song. This is seen when the chorus is repeated or the verse lyrics change and music stays the same. Repetition in music is known to create continuity and is usually done with a catchy chorus. Contrarily when there is a change or contrast in music, it is often used to note a shift in mood. The form includes a myriad of types including strophic, binary, verse/chorus song, and ternary forms. These types of forms are derived from the repetition, contrast, and continuity referred to previously. The strophic form is when the same music is repeated over and over for several verses of music. This is the most basic form, which lacks contrast and is all repetition. The message the song is trying to portray is usually very elementary. In the binary form, there are two parts. It uses contrast to highlight the question answer music phrasing between the similar phrasing contrasting section. A combination between the binary and strophic forms is the Verse/ Chorus Song form. It alternates between the storytelling verses, which contain different lyrics each verse, and the recurring chorus. <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017</ref>. It creates the feeling of familiarity and allows for many ideas and feelings to be told and then reiterated in the chorus, which is very important in grunge music. The last form being covered is the ternary from. It is a three-part form that has a repletion of the first verse, with different lyrics, which then processes to the chorus and returns back to the theme of the first verse. The form is very diverse in music and can evoke different emotions. So one can see how important it is to grunge music because of its ability to highlight the different parts of the song through repetition, contrast, and continuity. <br />
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Grunge music is primarily about emotions and social issues that plagued many of the youth during that time, so it is very important to have the music bring attention to these issues through the phrasing of the chorus and verses. Songs In the 1990’s many rock songs followed a verse-chorus form, which Brad Osborn likes to call the “verse-chorus paradigm” (Osborn, 2013, p. 23). <ref> Osborn, B. (2013). Subverting the Verse–Chorus Paradigm: Terminally Climactic Forms in Recent Rock Music. Music Theory Spectrum, 35(1), 23-47. doi:10.1525/mts.2013.35.1.23 </ref> or in less layman terms a verse-chorus pattern. Osborn then quotes John Covach who says “In a verse-chorus [form]...the focus of the song is squarely on the chorus...[T]he verses serve primarily to prepare the return of the chorus’’ (Osborn, 2013, p. 23) and this makes the song sound like it’s using the chorus as the main bringer of emotion to the song. Many grunge songs, due to the fact that they are part of the rock genre, did use this form. It allowed many of the emotions of the first verse to be realized and then an overall feeling of dissatisfaction to be released about these feelings. This can especially be seen in “Heart-Shaped Box” by Nirvana, which starts with verse 1 <div style="text-align: center;"> She eyes me like a Pisces when I am weak <br><br />
I've been locked inside your heart-shaped box for weeks <br><br />
I've been drawn into your magnetar pit trap trap <br><br />
I wish I could eat your cancer when you turn black<ref> https://play.google.com/music/preview/Ttdyvwmcelupwuxwf6fsabw2qwq?lyrics=1&utm_source=google&utm_medium=search&utm_campaign=lyrics&pcampaignid=kp-lyrics </ref> </div><br>. The music plays on the use of the verse-chorus form to highlight the emotions of feeling trapped and helpless, which are then built on during the chorus <div style="text-align: center;"> Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice <br><br />
Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice<br><br />
Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice, your advice<ref> https://play.google.com/music/preview/Ttdyvwmcelupwuxwf6fsabw2qwq?lyrics=1&utm_source=google&utm_medium=search&utm_campaign=lyrics&pcampaignid=kp-lyrics </ref> </div><br>. The chorus is emphasizing the trapped feeling the singer is feeling, which he compares to debt. He feels that he is ever in debt and trapped. The next verse, which is musically a mirror of the first verse, but the lyrics speak of the great helpless he feels. This form allows great emphasis on the chorus and it also climaxes at the end when the last chorus is repeated. However, not every grunge song contained this form. In Glycerine by Bush, the song has a much different form, but still allows the emotions of sorrow and regret be portrayed to the audience. <br />
It’s all about the emotions being reached. They did not need to use this form to release and tell all of the audience their problems. It can be reached just as well with other songs <br />
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=Section 2: Elements of Writing a Grunge Song=<br />
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So now that we have a solid understanding of what harmony, rhythm, dynamics, and form are and how they are used in grunge music, we are now ready to write a song that emphasizes the true elements of grunge music. Here we are going to go step by step and identify how to create one of these grunge songs. We will be looking back at both our background and analysis of grunge songs to help us determine the best way to make a number one seller like “Smells Like Teen Spirit” by Nirvana. If one is not familiar with a lot of grunge music, I would suggest looking at my page [[Grunge in London|Grunge in London]]. That page will give you more background and information about the grunge era and includes some of its iconic songs from artists both from America and London. The purpose of this is to create a light-hearted and funny guide that highlights the both the technical aspects of grunge music and its unique sound that was learned in the background. While also pointing out repetitive nature of the themes, its inaudible lyrics, and their creepy videos. This is all made in good fun and is not meant to diminish any of the personal problems that these singers faced. They had very serious problems that some were not able to overcome and many did use music as an outlet to express their emotions. But for our purposes, we are focusing more on the teen angst portion, which contains more insignificant problems like Wi-Fi buffering or not having the latest video game, which is trying to fit in with this current generation of teenagers in a world of technology. From this, we will produce steps to creating a chart-topping, show-stopping, musical genius of a grunge song that has the consideration of the elements of music we analyzed. <br />
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<br><br />
Grunge music was very much known for its aesthetic and its ability to connect with the youth of generation x or those born in the 1990’s. It covered many “distasteful” topics such as depression, suicide, and alienation, which many grunge artists experienced and fought a daily battle to overcome. Today, many still listen to grunge music and find it comforting to know that there were others out there going through the same struggles of feeling forgotten, rejected and lost. But for those who feel that grunge music does not fit in with their technology filled life, they may want to create a grunge song that covers a topic they feel creates negative feelings for them. So to get into the proper mindset to write this song, one must dig deep into the recesses of his or her feelings of teen angst to dig out some sort of darker emotions. May I suggest a YouTube video of a pug who can’t roll over, not having enough phone data, or trying to watch the finale of your favorite show but the Wi-Fi keeps buffering the video? Think of something that is basically insignificant to the rest of the world and only really matters to you. A bad selfie would qualify as a good one also but may need to be prefaced that it was posted to social media and your crush may see it. Horrifying I know! Once you have found the feelings you would like to express in your song, start thinking of how you would like to portray those emotions and what you would like the overall sound to be. These feelings will be the base of your song and all of your further decisions will be based on the mood created by these emotions. I have personally dug out from the recesses of my long-buried teen nerdy angst the feeling of anxiety and sorrow when my code wouldn’t compile. <br><br />
<br><br />
Your next step is choosing how you would like to portray that to your listeners. I would do this by making it sound like the world will end if the code doesn’t work and that all will be lost. Don’t be afraid to be over dramatic. That’s what attracts people to the music is the drama and emotion. Right? Now that that has been cleared up, the actual song can now be written. One must start with the most crucial part first, the harmony. When done right, the harmony helps to create the emotion of the music. In grunge, musicians experimented with a variety of different techniques and ideas. They wanted to step out of the norm of alternative music. So, they experimented the chords of the music and found that when they distort the note a great deal it produces a much richer sound that reaches higher. Therefore, much of grunge music is written in 3 note chords which stem from a key signature. So, the first part of creating your harmony is deciding what key you would like your song, which you could do by picking you favorite note. I will be arbitrarily picking the key of F major. If you have a favorite key pick that one; it will make it more personal to you. Next, for choosing your chord progressions pick whatever sounds good together. Also, make sure to have at least one modulation of a note in there. It is a grunge classic and a must if you want your song to be grunge. This will create the dissonance you are looking for and will add to any emotion ranging from hatred to anxiety. Wow look at that, after playing with chords for a few hours, you will be able to get some chord progressions that you like. At this stage, you will also have to decide what instruments you would like to use. You honestly can’t go wrong with the grunge classic of guitar, bass guitar and drum set. If you are feeling fancy you could add another instrument to complement your theme and mood.<br><br />
<br><br />
After your harmony is all figured out, which will probably take a while, you will need to figure out your rhythm. The rhythm as stated before is really based on the emotion of the song so you’re going to need to play around with the speeds until you feel it has reached the right mood to represent the emotions you are trying to portray. Many grunge pieces have a range from 90-120 (bpm), but feel free to choose one that best suits the song. Dynamics is another important part of the piece do to that fact it determines what sections are loud and what sections are softer. Many times gunge utilized dynamics to create a call and response type of sound in the song. It also had the power to create tension in a song so it may work for your song if that is what you are striving for. One may also put accents on different parts of the song where you want to highlight a lyrics. The last thing you’ll need is the form of the song or how it the song is constructed both lyrically and musically. It is all about the repetition of the song of the chorus and its verses. The classic rock and grunge form of the 1990s was the verse-chorus form that focused its attention to the chorus. This is a really nice form for if you are highlighting your chorus. Though all grunge songs did not use this form, they also achieved their aesthetic by used other forms. So feel free to look into other forms that may make your song more grunge. The last requirement to writing a grunge song is lyrics! All grunge songs contained lyrics that expressed their emotions, so make your lyrics emotional and full of angst. As a bonus, have your singer sing very muffled and with almost unintelligible manner. It seemed really popular with bands such as Nirvana and Radiohead. You can't really hear the lyrics but you still felt a deep emotional connection to them. Any of these steps can be done in any order, so maybe start with the harmony or lyrics and form. It's really up to you. Much of the genre was experimentation held together by angst and great chords. And there you have it! You have created the next “Smells Like Teen Spirit”. Now go out and share your amazing song with the world, brace the world for its awesomeness! <br />
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<br><br />
== Musical analysis of songs ==<br />
<br><br />
Taking what has been learned about harmony, rhythm, dynamics, and form and its importance to grunge music now lets look at some songs created in the "grunge" music style. Keep in mind that you're just taking a small slice of examples and that this table isn't all-encompassing. Also note that some of the harmony listed is a general overview of the keys/tonalities explored. Find out more about grunge music and its history [[Grunge in London|here]]. <br />
<br><br><br />
{| class="wikitable" width="80%"<br />
|-<br />
! scope="row"| Grunge Music of the Late 1980's - Mid 1990's<br />
|-<br />
! Musical Elements <br />
! Heart Shaped Box <br />
! Black Hole Sun <br />
! Creep<br />
! Glycerine <br />
! Man in the Box<br />
|-<br />
! scope="row"| Artist <br />
| align="center"| Nirvana <br />
| align="center"| Soundgarden <br />
| align="center"| Radiohead<br />
| align="center"| Bush <br />
| align="center"| Alice in Chains <br />
|-<br />
! scope="row"| Rhythm<br />
| align="center"| <br />
* Time Signature: 4/4<br />
*Tempo: Moderately (108 - 120 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: 120 bpm<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: (90-93 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: Moderately (112-116 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: Moderately (107-109 bpm)<br />
|-<br />
! scope="row"| Harmony<br />
| align="center"| <br />
* Key: A minor<br />
*Major Chords: A5, F5, D5/ A, F5, D7<br />
*Chord Progressions: A5, F5, D5, A, D7<br />
| align="center"|<br />
* Key: F major<br />
*Major Chords: Gsus, G6, Bb6, F5, Em<br />
| align="center"|<br />
* Key: G major<br />
*Major Chords: G, B, C, Cm<br />
*Chord Progressions: G, B, C, Cm<br />
| align="center"|<br />
* Key: F major<br />
*Major Chords: F, C5, D5, Bb5<br />
*Chord Progressions: F, C5, D5, Bb5<br />
| align="center"|<br />
* Key: E minor <br />
* Major Chords: Em, E5, G, D, A<br />
*Chord Progressions: G5 G6 G5 G6 C E5<br />
|-<br />
! scope="row"| Dynamics <br />
| align="center"| <br />
*quite verse and roaring chorus <br />
| align="center"|<br />
*quite verse and roaring chorus <br />
| align="center"|<br />
*quite verse and roaring chorus <br />
*crescendo to chorus <br />
*decrescendo to verse <br />
| align="center"|<br />
*quite crescendo loud moderate level<br />
| align="center"|<br />
*moderate <br />
|-<br />
! scope="row"| Form <br />
| align="center"| <br />
*verse/chorus song form <br />
| align="center"|<br />
*verse/chorus song form <br />
| align="center"|<br />
*verse/chorus song form<br />
| align="center"|<br />
* verse/chorus/ bridge form <br />
| align="center"|<br />
*ABABB Form <br />
|- <br />
|}<br />
<br><br><br />
=Conclusion=<br />
<br><br />
In this project, I did an analysis of music theory from the point of view of grunge music. Music, in general, is so incredibly versatile with its ability to change one element to change the whole song and its intentions. All of the elements of music are important to delivering the music’s message. So I decided to look at grunge music though four of the elements of music to give an in-depth analysis on how these elements create the grunge sound. I also looked for ways the elements of music tied the whole genre together and gave it its particular sound. Grunge music was a unique genre that popped up as a sub-genera of alternative music, so I wanted to see what made it stand out from the rest. I determined that the genre itself was notable for its emotional connection to the music. The artists took advantage of rhythm, form, dynamics, and harmony to fit their feelings of depression, angst, and anger. Most notable they changed the way chords were heard by distorting the music’s sounds. It created a fuller sound and changed the chord progressions. They were very experimental and passionate about their music and led me to a “pattern” in their music, which was that it had to be full of emotion and it had to have distortion of chords that allowed them to modulate certain notes. I was then able to play off of this pattern to create a satirized guide to creating grunge music. In the future, I would like to see more research done on patterns in grunge music because this music created a generation and still inspires many today. <br />
<br><br><br />
<br />
=External Links=<br />
[[Grunge in London| Grunge in London]]<br />
<br><br><br />
<br />
=References=<br />
<br />
[[Category:Music Projects]]<br />
[[Category:2017]]<br />
<br><br></div>Kfconroyhttps://londonhuawiki.wpi.edu/index.php?title=File:Hipster-839803_640.jpg&diff=18752File:Hipster-839803 640.jpg2017-06-21T23:13:04Z<p>Kfconroy: </p>
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<div></div>Kfconroyhttps://londonhuawiki.wpi.edu/index.php?title=Music_Theory_behind_Grunge_Music&diff=18751Music Theory behind Grunge Music2017-06-21T23:12:46Z<p>Kfconroy: </p>
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<div><br />
by [[User:Kfconroy|Katharine Conory]]<br><br />
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{{Infobox<br />
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|label2 = Music Theory behind Grunge music <br />
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__TOC__<br />
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<br />
=Abstract=<br />
The objective of this milestone is to take all that I have learned from my Grunge in London Capstone to analysis the music under the lens of music theory. I hope to be able to see what grunge music has to offer by way of harmony, rhythm, dynamics, and form, which are some of the elements of all music. For my deliverable, I am taking all that I learned from this analysis of grunge music from a music theory background to create my own guide to what a grunge song would contain in the way of harmony, rhythm, dynamics and form with examples of what I would do. <br> <br><br />
For this project, I am drawing back on my past experience with music theory and my violin background. This is slightly challenging due to the fact that harmony for a violin is much simpler for a violin than a guitar. In high school, I took several music classes and was in both chorus and band. I hope to gain more knowledge about music theory and help others understand music as well. <br />
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<br />
=Introduction=<br />
This project is meant to introduce those who enjoy music to the music theory or backbone of music that makes it sounds a certain way or gives it a certain emotion. Music is defined by its elements, which allows a certain genre of music sounds different than another. So, I distinguished four important elements of music and did an in-depth analysis of each with a comparison of grunge to popular rock music of that time. From that analysis, I then produced a guide to producing gunge songs from a satirical background with examples of what I would do. <br> <br><br />
In my research, I found that grunge was more covered as a social and ethical topic with little being covered about the music itself. It was difficult to find much on the elements of music in respect to the grunge genre itself, but I did find some info on it under the umbrella of alternative. I discovered that its sound and style was primarily based off of the music’s harmony with the rhythm, form, and dynamics still very important to its overall sound. But, there was no real pattern to the music. Together in had a unique sound due to the harmonic practices, but what really kept the genre a genre was the music’s attitude and the taboo topics it tried to address. Each artist has its own unique style and sound but they all fell into the same genre. This project needs more research to fully grasp the musical differences between grunge music and the popular rock of the time. <br />
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<br />
=Section 1: Background=<br />
Grunge was a style choice, a cultural movement and most importantly a music style that appeared in the late 1980’s to the early 1990’s, which songs had focused on topics of a taboo nature such as alienation, depression, and suicide. The movement focused on using their music to enlighten those around them about the problems that they were suffering from, which resonated very well with the youth who were also facing many of those issues. It was very popular and topped many of the more well-known artists. It had a new an appealing sound that differed from the rock and pop music of day. Grunge music is considered to be a sub-genre of rock with heavy overlap with other rock subgenres such as alternative, metal, and punk <ref> STRONG, C. (2016). GRUNGE: music and memory. S.l.: ROUTLEDGE. </ref>.The music contained a dirty and raw sound guitar sound, which gave the genre its name. This music has a significant effect on the culture of the Seattle area where is was started, which is no surprise due to the fact that music has always been a major component of cultural changes in society. There have been many scholarly articles citing its importance and during this time there was a major shift in attitudes towards the world and the people who lived in it, which emphasized the feelings correlated to alienation, depression, and suicide. However one may ask how music, subtracting the lyrics, could evoke such feelings, which in fact brings me to the focus of this capstone; the music theory behind grunge music that gave it its unique sound. <br><br> <br />
The music theory behind grunge music will explain how this music became so unique, but this calls into question of the definition music. In the most literal idea, one can see music as “vibrations in the air that are observed by us and then interpreted as sounds. These sounds play out over time, meaning that music is, therefore, sound over time” <ref> Samama, L., & Clements, D. (2016). What is music? In The Meaning of Music (pp. 27-31). Amsterdam University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/j.ctt1b9x1ts.5</ref>. However, that is way too literal and would infer that all sounds are music like all paintings are works of art. Music is way more sophisticated and can be seen as “multi-dimensional (and a) multimedia phenomenon’’ <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017.</ref>. Therefore music is grouped into seven different elements, which are rhythm, dynamics, melody, harmony, tone color, texture, and form to help identify the key differences between grunge music and say rap. These elements added to the sound and identity of the genre, so much so it stood out from the rest of the alternative genre, which grunge was a subgenre of, during that era. Below I have chosen 4 elements I feel distinguished the grunge genre of from that which was popular during the 1990’s and created the special sound to the music that allowed the artists to express their emotions. <br><br> <br />
<br />
==Musical Elements ==<br />
===Harmony === <br />
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Harmony is very important to the creation of music, due to the fact it the way notes are played in relation to each other. This is a very technical and complex element of music that can be fairly hard to understand, so it is important to start at the beginning. There are seven notes in all of the music, not including all of the flats and sharps, A, B, C, D, E, F, G and these are the building blocks on which songs can then be built. The full list of notes which contain all the flats (b) and sharps (#) starting at A is '''A''', A#/Bb, '''B''', C, '''C#/Db''', '''D''', D#/Eb, '''E''', F, '''F#/Gb''', G, '''G#/Ab''', '''A''' and follows a pattern of 2212221, which gives a scale of A major. The pattern is followed by the bolded letters produces A, B, C#, D, E, F#, G#, and A as the A Major Scale. From the scale, one can then produce all of the chords that can be made from that key. A chord is several notes played together to that are separated by thirds, which produce notes that complement each other very well. The chords for an A major key would contain AC#E I (major), BDF# ii (minor), C#EG# iii (minor), DF#A IV (major), EG#B V (major), F#AC# vi (minor), G#BD vii0 (diminished). To form these 3 note chords, one takes the scale and starts at the first note in the scale, which in our case is A. Then, skip the next note, B, and chose C# to do this again for the third and last note of the chord. Your final chord will be AC#E, which is a major chord and they you do it for B, C#, etc. for the rest of the chords until you come back to your original note A. The chords are in a pattern of major, minor, minor, major, major, minor, and diminished, which are shown by the capitalized Roman numerals rather than the lower case ones and the 0 at the end means diminished. Another name this goes by is diatonic harmony and all this is the way notes relate with each other in a certain key. All of this can be replicated for all of the other keys in music to get chords. These chords then can be played in succession after one another and produce a chord progression. Some commonly used chord progressions in the key of A are ADE (I – IV- V) and BEA (ii-V-I). These chords and chord progression are what creates the harmony in the song and they are often used in term of how harsh they sound. The harshness of chords is quantified into dissonance and consonance. Dissonance is a very harsh sounding harmony and its chords known for creating tension in a piece. Consonance is a smooth sounding harmony that creates consonant chords, which resolves tension created by the dissonant chords. Chords are very important to music because it truly creates the mood of the music. More dissonant sounding music sounds almost unstable, eerie and sad. A really good example is Mozart’s Quartetto K. 465 "delle dissonanze". One can hear the very dissonant beginning and then throughout the rest of the piece, one can hear how dissonance is resolved by consonance (The Elements Of Music, 2017, p. 3). <htmltag tagname="iframe" id= width="200" height="150" src="https://www.youtube.com/embed/08uY0-ehL-w" frameborder="0" allowfullscreen></htmltag> <br />
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In grunge music, harmony played a large part in creating its aesthetic and sound. This music was very powerful and was known to use “power chords” (McDonald, 2000, p.355) as a “set of harmonic practices that rock musicians, particularly those who participate in the domain of guitar-oriented 'alternative' rock, have been using” (McDonald, 2000, p.355) <ref> McDonald, C. (2000). Exploring modal subversions in alternative music. Popular Music, 19(3), 355-363. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/853641 </ref>. These musicians were trying to break the mold of rock and alternative music so they tried new practices such as distorting the guitar’s sounds and choosing unique chord combinations. An example of this was the change of the power chords, which are normally fifths or fourths (McDonald, 2000, p.356). However, do to the heavy guitar distortion, created by overloading the signal into the amplifier, it created a more complex sound that allowed more sound to come from the notes played. This distortion allowed chords done in thirds to have a richer and fuller sounds and as a byproduct created a very dissonant sound (Biamonte, 2010, p. 97). Another in interesting part to grunge’s harmony was its use of “third or cross relations” (McDonald, 2000, p.357) that allows songs that were written in the key of A major and as we determined before C# would be the C note used, however in grunge music the C would incongruently change a minor third to C5 or Cb. This is what author Chris McDonald calls “modal subversion” (McDonald, 2000, p.357). It used constantly in these songs and an example of it would be in “Smells like Teen Spirit” by Nirvana. In this song the key is in F minor and in that scale A is natural but in “Smells like Teen Spirit” the A modulates to Ab (Osborn, 2013, 31) <ref> Osborn, B. (2013). Subverting the Verse–Chorus paradigm; terminally climactic forms in recent rock music. Music Theory Spectrum, 35(1), 23-47. doi:10.1525/mts.2013.35.1.23 <br />
</ref>. This a common theme in many grunge songs and gives its unique sounds, aesthetic, and emotion. <br />
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=== Rhythm ===<br />
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In music, the rhythm of a song is the time in which a song is played. This can be seen when a person is tapping one’s foot to the beat. The rhythm of the song is very important in creating the emotions of the song due to the fact that it determines how fast the piece is going to be. Encompassed in rhythm are sub-topics of duration, tempo, and meter, which helps the listener and musician to follow the structure of the piece. Rhythm tends to be more the technical part of the song but it carries much importance because without it the song would be a mess of lyrics and instruments without direction. So the duration is the length of time between each note and silence. It is used to bring attention to a certain section of the song because a very long note or silence is jarring to the listener. A silence can bring emphasis to the next note and add a complexity to the tempo of the song. The meter of the song is the repetition of accents and stresses that are arranged into the recognizable beat of the song. In a song, the accented notes tend to be the first note of the measure, however, to create more drama many artists utilize syncopation or the putting of accents on off-beats. The meter is emphasized by the song’s tempo or speed at which the beat is played. It is often known as beats per minute (bpm). The tempo of the song determines the level of excitement and mood of the song. It has been said by Gow that “the time-pattern upon his attention must be the excuse for the common conception of rhythm as the emotional element in music” (Gow, 1915, p. 637) or in layman terms. The pattern of sound, silence, and speed adds significantly to the emotions and feeling drawn from the piece so it is imperative that the artist uses the correct rhythm and tempo for the desired effect. An example of this would be how slow blues music tends to be around the 60 bpm and rock and roll music tends to be about 175 bpm. (Gow, 1915, p. 637- 642)<ref> Gow, G. (1915). Rhythm: The Life of Music. The Musical Quarterly, 1(4), 637-652. Retrieved from http://www.jstor.org/stable/738071 </ref> <br />
<br> <br> <br />
Grunge music is all about the aesthetic of the music and many times it is difficult to derive the meaning of the lyrics due to the vocal quality or symbolic meaning of the lyrics. So it’s imperative to set the right tone via the rhythm because without that the song could be changed from a very dark and emotional piece to one that sounds happy and light. Therefore, the duration of the notes and silences have to create drama and angst. The meter must accentuate the right beat and word of the lyrics to make them pop. One consistency round most grunge music is its timed meter, which was 4/4 time or four beats per measure. The emphasis on notes tended to be inconsistent though because it was really dependent on the lyrics. Some songs did use accents of off-beats to draw more attention to one part or another. Meter also creates the structure to the song. Without that the song has very similar and boring notes with no structure. The tempo has to give the song the right attitude. So in grunge music artists wanted a tempo to reflect sadness and depression that they often felt, but they but they wanted to be interesting and attention grabbing. So many artist chooses tempos from around 90-120 (bpm) there was no exact range to the tempos. It was really up to the musician’s ear. However, one can tell that the artist chose the right tempo, if the emotions were portrayed foremost in the music. A good example would be to speed up or slow down a grunge song.<br />
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When that is done, ignoring the higher pitch of Cobain's voice, it is obvious that one will not get the same emphasis on themes of the music leaving the song useless to the artist. The grunge artist needed the aesthetic of angst and pain to drip from the lyrics to get his point across. <br />
<br> <br><br />
<br />
=== Dynamics ===<br />
<br><br />
The dynamics of a song is the loudness and or softness at which the song is played at. A song can be played very loudly, fortissimo, or very softly, pianissimo, and it would create a different interpretation of the song. Some genres of music tend to produce quieter music while others like to blast their audience with their music. An artist can also have a range of volumes with many choosing sections of their song to be quieter to emphasize the words or the music’s complexity and others sections being softer to portray emotions. Sometimes the artist wants to create a buildup of tension in the song so he or she will use a crescendo, getting louder, or a decrescendo, getting softer to achieve it. Another part of dynamics, which was touched on in rhythm, is accenting a note or “leaning into a note” <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017. </ref> and it creates a unique sound. It is important to use dynamics because it keeps the music interesting. A lovely example that many people have probably heard before would be in Richard Strauss's Also Sprach Zarathustra, Op. 30. <br><br />
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It starts our pianissimo and then crescendos to fortissimo until it is absolutely blaring. These dynamics are meant to grab the attention of the audience and awaken anyone who has fallen asleep during the very quiet part. Dynamics are an important part of the music creation process due to the fact that a combination of these dynamics creates the genre's signature style. Hardcore rock is known to bombard their audience with sound while other genres such as country tend to have a moderate volume. <br />
<br><br><br />
Dynamics is another really important element in grunge music because it can be used as an emphasis on particular parts of the song. The song could go from a verse of quiet reflection to a chorus of raging anger. This element is interlinked with all of the other elements to create the song the way that artist meant to portray it. Many of the grunge artists use dynamics to emphasize the themes of the song. So while many songs of the grunge genre do tend to vacillate between very loud and quiet, not every song does. It all depends on the themes and emotions of the songs. An example of the differences would be comparing the dynamics of Black Hole Sun by Soundgarden and Glycerine by Bush. They are both classified under the genre of grunge music, but they have totally different dynamics. In Black Hole Sun, the first verse starts out pretty quiet to emphasize the almost euphoric nature of words and the invisibility the singer feels. Then in the chorus, there is a large increase in volume which tries to capture the anger and pain of his invisibility. However, in Glycerine, the verse starts out pretty quiet and has a mournful tone and it crescendos ever so slightly into the chorus which is still mournful plus a bit remorseful also. The dynamics are used in grunge as an emphasis on certain feelings and emotions and though some do have a pattern of a quite verse and loud chorus some use other dynamics to get their point across. <br />
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=== Form ===<br />
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In music, the element of form is a combination of the repetition, contrast, and continuity that creates a song’s uniqueness. The form is very dependent on the other elements of music because it is the way the music is arranged. There is a mixture of musical ideas that are carefully arranged to create the meaning behind the music, which is illustrated when the chorus, speaking both lyrically and instrumentally, is repeated. To differentiate the diversions in music, letters such as A, B, C, are used. This is used determine the slight variation in musical patterns. Repetition is often utilized in form to set the theme of the song. This is seen when the chorus is repeated or the verse lyrics change and music stays the same. Repetition in music is known to create continuity and is usually done with a catchy chorus. Contrarily when there is a change or contrast in music, it is often used to note a shift in mood. The form includes a myriad of types including strophic, binary, verse/chorus song, and ternary forms. These types of forms are derived from the repetition, contrast, and continuity referred to previously. The strophic form is when the same music is repeated over and over for several verses of music. This is the most basic form, which lacks contrast and is all repetition. The message the song is trying to portray is usually very elementary. In the binary form, there are two parts. It uses contrast to highlight the question answer music phrasing between the similar phrasing contrasting section. A combination between the binary and strophic forms is the Verse/ Chorus Song form. It alternates between the storytelling verses, which contain different lyrics each verse, and the recurring chorus. <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017</ref>. It creates the feeling of familiarity and allows for many ideas and feelings to be told and then reiterated in the chorus, which is very important in grunge music. The last form being covered is the ternary from. It is a three-part form that has a repletion of the first verse, with different lyrics, which then processes to the chorus and returns back to the theme of the first verse. The form is very diverse in music and can evoke different emotions. So one can see how important it is to grunge music because of its ability to highlight the different parts of the song through repetition, contrast, and continuity. <br />
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Grunge music is primarily about emotions and social issues that plagued many of the youth during that time, so it is very important to have the music bring attention to these issues through the phrasing of the chorus and verses. Songs In the 1990’s many rock songs followed a verse-chorus form, which Brad Osborn likes to call the “verse-chorus paradigm” (Osborn, 2013, p. 23). <ref> Osborn, B. (2013). Subverting the Verse–Chorus Paradigm: Terminally Climactic Forms in Recent Rock Music. Music Theory Spectrum, 35(1), 23-47. doi:10.1525/mts.2013.35.1.23 </ref> or in less layman terms a verse-chorus pattern. Osborn then quotes John Covach who says “In a verse-chorus [form]...the focus of the song is squarely on the chorus...[T]he verses serve primarily to prepare the return of the chorus’’ (Osborn, 2013, p. 23) and this makes the song sound like it’s using the chorus as the main bringer of emotion to the song. Many grunge songs, due to the fact that they are part of the rock genre, did use this form. It allowed many of the emotions of the first verse to be realized and then an overall feeling of dissatisfaction to be released about these feelings. This can especially be seen in “Heart-Shaped Box” by Nirvana, which starts with verse 1 <div style="text-align: center;"> She eyes me like a Pisces when I am weak <br><br />
I've been locked inside your heart-shaped box for weeks <br><br />
I've been drawn into your magnetar pit trap trap <br><br />
I wish I could eat your cancer when you turn black<ref> https://play.google.com/music/preview/Ttdyvwmcelupwuxwf6fsabw2qwq?lyrics=1&utm_source=google&utm_medium=search&utm_campaign=lyrics&pcampaignid=kp-lyrics </ref> </div><br>. The music plays on the use of the verse-chorus form to highlight the emotions of feeling trapped and helpless, which are then built on during the chorus <div style="text-align: center;"> Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice <br><br />
Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice<br><br />
Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice, your advice<ref> https://play.google.com/music/preview/Ttdyvwmcelupwuxwf6fsabw2qwq?lyrics=1&utm_source=google&utm_medium=search&utm_campaign=lyrics&pcampaignid=kp-lyrics </ref> </div><br>. The chorus is emphasizing the trapped feeling the singer is feeling, which he compares to debt. He feels that he is ever in debt and trapped. The next verse, which is musically a mirror of the first verse, but the lyrics speak of the great helpless he feels. This form allows great emphasis on the chorus and it also climaxes at the end when the last chorus is repeated. However, not every grunge song contained this form. In Glycerine by Bush, the song has a much different form, but still allows the emotions of sorrow and regret be portrayed to the audience. <br />
It’s all about the emotions being reached. They did not need to use this form to release and tell all of the audience their problems. It can be reached just as well with other songs <br />
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== Musical analysis of songs ==<br />
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Taking what has been learned about harmony, rhythm, dynamics, and form and its importance to grunge music now lets look at some songs created in the "grunge" music style. Keep in mind that you're just taking a small slice of examples and that this table isn't all-encompassing. Also note that some of the harmony listed is a general overview of the keys/tonalities explored. Find out more about grunge music and its history [[Grunge in London|here]]. <br />
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{| class="wikitable" width="80%"<br />
|-<br />
! scope="row"| Grunge Music of the Late 1980's - Mid 1990's<br />
|-<br />
! Musical Elements <br />
! Heart Shaped Box <br />
! Black Hole Sun <br />
! Creep<br />
! Glycerine <br />
! Man in the Box<br />
|-<br />
! scope="row"| Artist <br />
| align="center"| Nirvana <br />
| align="center"| Soundgarden <br />
| align="center"| Radiohead<br />
| align="center"| Bush <br />
| align="center"| Alice in Chains <br />
|-<br />
! scope="row"| Rhythm<br />
| align="center"| <br />
* Time Signature: 4/4<br />
*Tempo: Moderately (108 - 120 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: 120 bpm<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: (90-93 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: Moderately (112-116 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: Moderately (107-109 bpm)<br />
|-<br />
! scope="row"| Harmony<br />
| align="center"| <br />
* Key: A minor<br />
*Major Chords: A5, F5, D5/ A, F5, D7<br />
*Chord Progressions: A5, F5, D5, A, D7<br />
| align="center"|<br />
* Key: F major<br />
*Major Chords: Gsus, G6, Bb6, F5, Em<br />
| align="center"|<br />
* Key: G major<br />
*Major Chords: G, B, C, Cm<br />
*Chord Progressions: G, B, C, Cm<br />
| align="center"|<br />
* Key: F major<br />
*Major Chords: F, C5, D5, Bb5<br />
*Chord Progressions: F, C5, D5, Bb5<br />
| align="center"|<br />
* Key: E minor <br />
* Major Chords: Em, E5, G, D, A<br />
*Chord Progressions: G5 G6 G5 G6 C E5<br />
|-<br />
! scope="row"| Dynamics <br />
| align="center"| <br />
*quite verse and roaring chorus <br />
| align="center"|<br />
*quite verse and roaring chorus <br />
| align="center"|<br />
*quite verse and roaring chorus <br />
*crescendo to chorus <br />
*decrescendo to verse <br />
| align="center"|<br />
*quite crescendo loud moderate level<br />
| align="center"|<br />
*moderate <br />
|-<br />
! scope="row"| Form <br />
| align="center"| <br />
*verse/chorus song form <br />
| align="center"|<br />
*verse/chorus song form <br />
| align="center"|<br />
*verse/chorus song form<br />
| align="center"|<br />
* verse/chorus/ bridge form <br />
| align="center"|<br />
*ABABB Form <br />
|- <br />
|}<br />
<br />
=Section 2: Elements of Writing a Grunge Song=<br />
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So now that we have a solid understanding of what harmony, rhythm, dynamics, and form are and how they are used in grunge music, we are now ready to write a song that emphasizes the true elements of grunge music. Here we are going to go step by step and identify how to create one of these grunge songs. We will be looking back at both our background and analysis of grunge songs to help us determine the best way to make a number one seller like “Smells Like Teen Spirit” by Nirvana. If one is not familiar with a lot of grunge music, I would suggest looking at my page [[Grunge in London|Grunge in London]]. That page will give you more background and information about the grunge era and includes some of its iconic songs from artists both from America and London. The purpose of this is to create a light-hearted and funny guide that highlights the both the technical aspects of grunge music and its unique sound that was learned in the background. While also pointing out repetitive nature of the themes, its inaudible lyrics, and their creepy videos. This is all made in good fun and is not meant to diminish any of the personal problems that these singers faced. They had very serious problems that some were not able to overcome and many did use music as an outlet to express their emotions. But for our purposes, we are focusing more on the teen angst portion, which contains more insignificant problems like Wi-Fi buffering or not having the latest video game, which is trying to fit in with this current generation of teenagers in a world of technology. From this, we will produce steps to creating a chart-topping, show-stopping, musical genius of a grunge song that has the consideration of the elements of music we analyzed. <br />
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Grunge music was very much known for its aesthetic and its ability to connect with the youth of generation x or those born in the 1990’s. It covered many “distasteful” topics such as depression, suicide, and alienation, which many grunge artists experienced and fought a daily battle to overcome. Today, many still listen to grunge music and find it comforting to know that there were others out there going through the same struggles of feeling forgotten, rejected and lost. But for those who feel that grunge music does not fit in with their technology filled life, they may want to create a grunge song that covers a topic they feel creates negative feelings for them. So to get into the proper mindset to write this song, one must dig deep into the recesses of his or her feelings of teen angst to dig out some sort of darker emotions. May I suggest a YouTube video of a pug who can’t roll over, not having enough phone data, or trying to watch the finale of your favorite show but the Wi-Fi keeps buffering the video? Think of something that is basically insignificant to the rest of the world and only really matters to you. A bad selfie would qualify as a good one also but may need to be prefaced that it was posted to social media and your crush may see it. Horrifying I know! Once you have found the feelings you would like to express in your song, start thinking of how you would like to portray those emotions and what you would like the overall sound to be. These feelings will be the base of your song and all of your further decisions will be based on the mood created by these emotions. I have personally dug out from the recesses of my long-buried teen nerdy angst the feeling of anxiety and sorrow when my code wouldn’t compile. <br><br />
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Your next step is choosing how you would like to portray that to your listeners. I would do this by making it sound like the world will end if the code doesn’t work and that all will be lost. Don’t be afraid to be over dramatic. That’s what attracts people to the music is the drama and emotion. Right? Now that that has been cleared up, the actual song can now be written. One must start with the most crucial part first, the harmony. When done right, the harmony helps to create the emotion of the music. In grunge, musicians experimented with a variety of different techniques and ideas. They wanted to step out of the norm of alternative music. So, they experimented the chords of the music and found that when they distort the note a great deal it produces a much richer sound that reaches higher. Therefore, much of grunge music is written in 3 note chords which stem from a key signature. So, the first part of creating your harmony is deciding what key you would like your song, which you could do by picking you favorite note. I will be arbitrarily picking the key of F major. If you have a favorite key pick that one; it will make it more personal to you. Next, for choosing your chord progressions pick whatever sounds good together. Also, make sure to have at least one modulation of a note in there. It is a grunge classic and a must if you want your song to be grunge. This will create the dissonance you are looking for and will add to any emotion ranging from hatred to anxiety. Wow look at that, after playing with chords for a few hours, you will be able to get some chord progressions that you like. At this stage, you will also have to decide what instruments you would like to use. You honestly can’t go wrong with the grunge classic of guitar, bass guitar and drum set. If you are feeling fancy you could add another instrument to complement your theme and mood.<br><br />
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After your harmony is all figured out, which will probably take a while, you will need to figure out your rhythm. The rhythm as stated before is really based on the emotion of the song so you’re going to need to play around with the speeds until you feel it has reached the right mood to represent the emotions you are trying to portray. Many grunge pieces have a range from 90-120 (bpm), but feel free to choose one that best suits the song. Dynamics is another important part of the piece do to that fact it determines what sections are loud and what sections are softer. Many times gunge utilized dynamics to create a call and response type of sound in the song. It also had the power to create tension in a song so it may work for your song if that is what you are striving for. One may also put accents on different parts of the song where you want to highlight a lyrics. The last thing you’ll need is the form of the song or how it the song is constructed both lyrically and musically. It is all about the repetition of the song of the chorus and its verses. The classic rock and grunge form of the 1990s was the verse-chorus form that focused its attention to the chorus. This is a really nice form for if you are highlighting your chorus. Though all grunge songs did not use this form, they also achieved their aesthetic by used other forms. So feel free to look into other forms that may make your song more grunge. The last requirement to writing a grunge song is lyrics! All grunge songs contained lyrics that expressed their emotions, so make your lyrics emotional and full of angst. As a bonus, have your singer sing very muffled and with almost unintelligible manner. It seemed really popular with bands such as Nirvana and Radiohead. You can't really hear the lyrics but you still felt a deep emotional connection to them. Any of these steps can be done in any order, so maybe start with the harmony or lyrics and form. It's really up to you. Much of the genre was experimentation held together by angst and great chords. And there you have it! You have created the next “Smells Like Teen Spirit”. Now go out and share your amazing song with the world, brace the world for its awesomeness! <br />
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=Conclusion=<br />
<br><br />
In this project, I did an analysis of music theory from the point of view of grunge music. Music, in general, is so incredibly versatile with its ability to change one element to change the whole song and its intentions. All of the elements of music are important to delivering the music’s message. So I decided to look at grunge music though four of the elements of music to give an in-depth analysis on how these elements create the grunge sound. I also looked for ways the elements of music tied the whole genre together and gave it its particular sound. Grunge music was a unique genre that popped up as a sub-genera of alternative music, so I wanted to see what made it stand out from the rest. I determined that the genre itself was notable for its emotional connection to the music. The artists took advantage of rhythm, form, dynamics, and harmony to fit their feelings of depression, angst, and anger. Most notable they changed the way chords were heard by distorting the music’s sounds. It created a fuller sound and changed the chord progressions. They were very experimental and passionate about their music and led me to a “pattern” in their music, which was that it had to be full of emotion and it had to have distortion of chords that allowed them to modulate certain notes. I was then able to play off of this pattern to create a satirized guide to creating grunge music. In the future, I would like to see more research done on patterns in grunge music because this music created a generation and still inspires many today. <br />
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=External Links=<br />
[[Grunge in London| Grunge in London]]<br />
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=References=<br />
<br />
[[Category:Music Projects]]<br />
[[Category:2017]]<br />
<br><br></div>Kfconroyhttps://londonhuawiki.wpi.edu/index.php?title=Music_Theory_behind_Grunge_Music&diff=18746Music Theory behind Grunge Music2017-06-21T23:09:58Z<p>Kfconroy: </p>
<hr />
<div><br />
by [[User:Kfconroy|Katharine Conory]]<br><br />
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<br />
=Abstract=<br />
The objective of this milestone is to take all that I have learned from my Grunge in London Capstone to analysis the music under the lens of music theory. I hope to be able to see what grunge music has to offer by way of harmony, rhythm, dynamics, and form, which are some of the elements of all music. For my deliverable, I am taking all that I learned from this analysis of grunge music from a music theory background to create my own guide to what a grunge song would contain in the way of harmony, rhythm, dynamics and form with examples of what I would do. <br> <br><br />
For this project, I am drawing back on my past experience with music theory and my violin background. This is slightly challenging due to the fact that harmony for a violin is much simpler for a violin than a guitar. In high school, I took several music classes and was in both chorus and band. I hope to gain more knowledge about music theory and help others understand music as well. <br />
<br><br><br />
<br />
=Introduction=<br />
This project is meant to introduce those who enjoy music to the music theory or backbone of music that makes it sounds a certain way or gives it a certain emotion. Music is defined by its elements, which allows a certain genre of music sounds different than another. So, I distinguished four important elements of music and did an in-depth analysis of each with a comparison of grunge to popular rock music of that time. From that analysis, I then produced a guide to producing gunge songs from a satirical background with examples of what I would do. <br> <br><br />
In my research, I found that grunge was more covered as a social and ethical topic with little being covered about the music itself. It was difficult to find much on the elements of music in respect to the grunge genre itself, but I did find some info on it under the umbrella of alternative. I discovered that its sound and style was primarily based off of the music’s harmony with the rhythm, form, and dynamics still very important to its overall sound. But, there was no real pattern to the music. Together in had a unique sound due to the harmonic practices, but what really kept the genre a genre was the music’s attitude and the taboo topics it tried to address. Each artist has its own unique style and sound but they all fell into the same genre. This project needs more research to fully grasp the musical differences between grunge music and the popular rock of the time. <br />
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=Section 1: Background=<br />
Grunge was a style choice, a cultural movement and most importantly a music style that appeared in the late 1980’s to the early 1990’s, which songs had focused on topics of a taboo nature such as alienation, depression, and suicide. The movement focused on using their music to enlighten those around them about the problems that they were suffering from, which resonated very well with the youth who were also facing many of those issues. It was very popular and topped many of the more well-known artists. It had a new an appealing sound that differed from the rock and pop music of day. Grunge music is considered to be a sub-genre of rock with heavy overlap with other rock subgenres such as alternative, metal, and punk <ref> STRONG, C. (2016). GRUNGE: music and memory. S.l.: ROUTLEDGE. </ref>.The music contained a dirty and raw sound guitar sound, which gave the genre its name. This music has a significant effect on the culture of the Seattle area where is was started, which is no surprise due to the fact that music has always been a major component of cultural changes in society. There have been many scholarly articles citing its importance and during this time there was a major shift in attitudes towards the world and the people who lived in it, which emphasized the feelings correlated to alienation, depression, and suicide. However one may ask how music, subtracting the lyrics, could evoke such feelings, which in fact brings me to the focus of this capstone; the music theory behind grunge music that gave it its unique sound. <br><br> <br />
The music theory behind grunge music will explain how this music became so unique, but this calls into question of the definition music. In the most literal idea, one can see music as “vibrations in the air that are observed by us and then interpreted as sounds. These sounds play out over time, meaning that music is, therefore, sound over time” <ref> Samama, L., & Clements, D. (2016). What is music? In The Meaning of Music (pp. 27-31). Amsterdam University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/j.ctt1b9x1ts.5</ref>. However, that is way too literal and would infer that all sounds are music like all paintings are works of art. Music is way more sophisticated and can be seen as “multi-dimensional (and a) multimedia phenomenon’’ <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017.</ref>. Therefore music is grouped into seven different elements, which are rhythm, dynamics, melody, harmony, tone color, texture, and form to help identify the key differences between grunge music and say rap. These elements added to the sound and identity of the genre, so much so it stood out from the rest of the alternative genre, which grunge was a subgenre of, during that era. Below I have chosen 4 elements I feel distinguished the grunge genre of from that which was popular during the 1990’s and created the special sound to the music that allowed the artists to express their emotions. <br><br> <br />
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==Musical Elements ==<br />
===Harmony === <br />
<br><br />
Harmony is very important to the creation of music, due to the fact it the way notes are played in relation to each other. This is a very technical and complex element of music that can be fairly hard to understand, so it is important to start at the beginning. There are seven notes in all of the music, not including all of the flats and sharps, A, B, C, D, E, F, G and these are the building blocks on which songs can then be built. The full list of notes which contain all the flats (b) and sharps (#) starting at A is '''A''', A#/Bb, '''B''', C, '''C#/Db''', '''D''', D#/Eb, '''E''', F, '''F#/Gb''', G, '''G#/Ab''', '''A''' and follows a pattern of 2212221, which gives a scale of A major. The pattern is followed by the bolded letters produces A, B, C#, D, E, F#, G#, and A as the A Major Scale. From the scale, one can then produce all of the chords that can be made from that key. A chord is several notes played together to that are separated by thirds, which produce notes that complement each other very well. The chords for an A major key would contain AC#E I (major), BDF# ii (minor), C#EG# iii (minor), DF#A IV (major), EG#B V (major), F#AC# vi (minor), G#BD vii0 (diminished). To form these 3 note chords, one takes the scale and starts at the first note in the scale, which in our case is A. Then, skip the next note, B, and chose C# to do this again for the third and last note of the chord. Your final chord will be AC#E, which is a major chord and they you do it for B, C#, etc. for the rest of the chords until you come back to your original note A. The chords are in a pattern of major, minor, minor, major, major, minor, and diminished, which are shown by the capitalized Roman numerals rather than the lower case ones and the 0 at the end means diminished. Another name this goes by is diatonic harmony and all this is the way notes relate with each other in a certain key. All of this can be replicated for all of the other keys in music to get chords. These chords then can be played in succession after one another and produce a chord progression. Some commonly used chord progressions in the key of A are ADE (I – IV- V) and BEA (ii-V-I). These chords and chord progression are what creates the harmony in the song and they are often used in term of how harsh they sound. The harshness of chords is quantified into dissonance and consonance. Dissonance is a very harsh sounding harmony and its chords known for creating tension in a piece. Consonance is a smooth sounding harmony that creates consonant chords, which resolves tension created by the dissonant chords. Chords are very important to music because it truly creates the mood of the music. More dissonant sounding music sounds almost unstable, eerie and sad. A really good example is Mozart’s Quartetto K. 465 "delle dissonanze". One can hear the very dissonant beginning and then throughout the rest of the piece, one can hear how dissonance is resolved by consonance (The Elements Of Music, 2017, p. 3). <htmltag tagname="iframe" id= width="200" height="150" src="https://www.youtube.com/embed/08uY0-ehL-w" frameborder="0" allowfullscreen></htmltag> <br />
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In grunge music, harmony played a large part in creating its aesthetic and sound. This music was very powerful and was known to use “power chords” (McDonald, 2000, p.355) as a “set of harmonic practices that rock musicians, particularly those who participate in the domain of guitar-oriented 'alternative' rock, have been using” (McDonald, 2000, p.355) <ref> McDonald, C. (2000). Exploring modal subversions in alternative music. Popular Music, 19(3), 355-363. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/853641 </ref>. These musicians were trying to break the mold of rock and alternative music so they tried new practices such as distorting the guitar’s sounds and choosing unique chord combinations. An example of this was the change of the power chords, which are normally fifths or fourths (McDonald, 2000, p.356). However, do to the heavy guitar distortion, created by overloading the signal into the amplifier, it created a more complex sound that allowed more sound to come from the notes played. This distortion allowed chords done in thirds to have a richer and fuller sounds and as a byproduct created a very dissonant sound (Biamonte, 2010, p. 97). Another in interesting part to grunge’s harmony was its use of “third or cross relations” (McDonald, 2000, p.357) that allows songs that were written in the key of A major and as we determined before C# would be the C note used, however in grunge music the C would incongruently change a minor third to C5 or Cb. This is what author Chris McDonald calls “modal subversion” (McDonald, 2000, p.357). It used constantly in these songs and an example of it would be in “Smells like Teen Spirit” by Nirvana. In this song the key is in F minor and in that scale A is natural but in “Smells like Teen Spirit” the A modulates to Ab (Osborn, 2013, 31) <ref> Osborn, B. (2013). Subverting the Verse–Chorus paradigm; terminally climactic forms in recent rock music. Music Theory Spectrum, 35(1), 23-47. doi:10.1525/mts.2013.35.1.23 <br />
</ref>. This a common theme in many grunge songs and gives its unique sounds, aesthetic, and emotion. <br />
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=== Rhythm ===<br />
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In music, the rhythm of a song is the time in which a song is played. This can be seen when a person is tapping one’s foot to the beat. The rhythm of the song is very important in creating the emotions of the song due to the fact that it determines how fast the piece is going to be. Encompassed in rhythm are sub-topics of duration, tempo, and meter, which helps the listener and musician to follow the structure of the piece. Rhythm tends to be more the technical part of the song but it carries much importance because without it the song would be a mess of lyrics and instruments without direction. So the duration is the length of time between each note and silence. It is used to bring attention to a certain section of the song because a very long note or silence is jarring to the listener. A silence can bring emphasis to the next note and add a complexity to the tempo of the song. The meter of the song is the repetition of accents and stresses that are arranged into the recognizable beat of the song. In a song, the accented notes tend to be the first note of the measure, however, to create more drama many artists utilize syncopation or the putting of accents on off-beats. The meter is emphasized by the song’s tempo or speed at which the beat is played. It is often known as beats per minute (bpm). The tempo of the song determines the level of excitement and mood of the song. It has been said by Gow that “the time-pattern upon his attention must be the excuse for the common conception of rhythm as the emotional element in music” (Gow, 1915, p. 637) or in layman terms. The pattern of sound, silence, and speed adds significantly to the emotions and feeling drawn from the piece so it is imperative that the artist uses the correct rhythm and tempo for the desired effect. An example of this would be how slow blues music tends to be around the 60 bpm and rock and roll music tends to be about 175 bpm. (Gow, 1915, p. 637- 642)<ref> Gow, G. (1915). Rhythm: The Life of Music. The Musical Quarterly, 1(4), 637-652. Retrieved from http://www.jstor.org/stable/738071 </ref> <br />
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Grunge music is all about the aesthetic of the music and many times it is difficult to derive the meaning of the lyrics due to the vocal quality or symbolic meaning of the lyrics. So it’s imperative to set the right tone via the rhythm because without that the song could be changed from a very dark and emotional piece to one that sounds happy and light. Therefore, the duration of the notes and silences have to create drama and angst. The meter must accentuate the right beat and word of the lyrics to make them pop. One consistency round most grunge music is its timed meter, which was 4/4 time or four beats per measure. The emphasis on notes tended to be inconsistent though because it was really dependent on the lyrics. Some songs did use accents of off-beats to draw more attention to one part or another. Meter also creates the structure to the song. Without that the song has very similar and boring notes with no structure. The tempo has to give the song the right attitude. So in grunge music artists wanted a tempo to reflect sadness and depression that they often felt, but they but they wanted to be interesting and attention grabbing. So many artist chooses tempos from around 90-120 (bpm) there was no exact range to the tempos. It was really up to the musician’s ear. However, one can tell that the artist chose the right tempo, if the emotions were portrayed foremost in the music. A good example would be to speed up or slow down a grunge song.<br />
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When that is done, ignoring the higher pitch of Cobain's voice, it is obvious that one will not get the same emphasis on themes of the music leaving the song useless to the artist. The grunge artist needed the aesthetic of angst and pain to drip from the lyrics to get his point across. <br />
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=== Dynamics ===<br />
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The dynamics of a song is the loudness and or softness at which the song is played at. A song can be played very loudly, fortissimo, or very softly, pianissimo, and it would create a different interpretation of the song. Some genres of music tend to produce quieter music while others like to blast their audience with their music. An artist can also have a range of volumes with many choosing sections of their song to be quieter to emphasize the words or the music’s complexity and others sections being softer to portray emotions. Sometimes the artist wants to create a buildup of tension in the song so he or she will use a crescendo, getting louder, or a decrescendo, getting softer to achieve it. Another part of dynamics, which was touched on in rhythm, is accenting a note or “leaning into a note” <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017. </ref> and it creates a unique sound. It is important to use dynamics because it keeps the music interesting. A lovely example that many people have probably heard before would be in Richard Strauss's Also Sprach Zarathustra, Op. 30. <br><br />
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It starts our pianissimo and then crescendos to fortissimo until it is absolutely blaring. These dynamics are meant to grab the attention of the audience and awaken anyone who has fallen asleep during the very quiet part. Dynamics are an important part of the music creation process due to the fact that a combination of these dynamics creates the genre's signature style. Hardcore rock is known to bombard their audience with sound while other genres such as country tend to have a moderate volume. <br />
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Dynamics is another really important element in grunge music because it can be used as an emphasis on particular parts of the song. The song could go from a verse of quiet reflection to a chorus of raging anger. This element is interlinked with all of the other elements to create the song the way that artist meant to portray it. Many of the grunge artists use dynamics to emphasize the themes of the song. So while many songs of the grunge genre do tend to vacillate between very loud and quiet, not every song does. It all depends on the themes and emotions of the songs. An example of the differences would be comparing the dynamics of Black Hole Sun by Soundgarden and Glycerine by Bush. They are both classified under the genre of grunge music, but they have totally different dynamics. In Black Hole Sun, the first verse starts out pretty quiet to emphasize the almost euphoric nature of words and the invisibility the singer feels. Then in the chorus, there is a large increase in volume which tries to capture the anger and pain of his invisibility. However, in Glycerine, the verse starts out pretty quiet and has a mournful tone and it crescendos ever so slightly into the chorus which is still mournful plus a bit remorseful also. The dynamics are used in grunge as an emphasis on certain feelings and emotions and though some do have a pattern of a quite verse and loud chorus some use other dynamics to get their point across. <br />
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=== Form ===<br />
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In music, the element of form is a combination of the repetition, contrast, and continuity that creates a song’s uniqueness. The form is very dependent on the other elements of music because it is the way the music is arranged. There is a mixture of musical ideas that are carefully arranged to create the meaning behind the music, which is illustrated when the chorus, speaking both lyrically and instrumentally, is repeated. To differentiate the diversions in music, letters such as A, B, C, are used. This is used determine the slight variation in musical patterns. Repetition is often utilized in form to set the theme of the song. This is seen when the chorus is repeated or the verse lyrics change and music stays the same. Repetition in music is known to create continuity and is usually done with a catchy chorus. Contrarily when there is a change or contrast in music, it is often used to note a shift in mood. The form includes a myriad of types including strophic, binary, verse/chorus song, and ternary forms. These types of forms are derived from the repetition, contrast, and continuity referred to previously. The strophic form is when the same music is repeated over and over for several verses of music. This is the most basic form, which lacks contrast and is all repetition. The message the song is trying to portray is usually very elementary. In the binary form, there are two parts. It uses contrast to highlight the question answer music phrasing between the similar phrasing contrasting section. A combination between the binary and strophic forms is the Verse/ Chorus Song form. It alternates between the storytelling verses, which contain different lyrics each verse, and the recurring chorus. <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017</ref>. It creates the feeling of familiarity and allows for many ideas and feelings to be told and then reiterated in the chorus, which is very important in grunge music. The last form being covered is the ternary from. It is a three-part form that has a repletion of the first verse, with different lyrics, which then processes to the chorus and returns back to the theme of the first verse. The form is very diverse in music and can evoke different emotions. So one can see how important it is to grunge music because of its ability to highlight the different parts of the song through repetition, contrast, and continuity. <br />
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Grunge music is primarily about emotions and social issues that plagued many of the youth during that time, so it is very important to have the music bring attention to these issues through the phrasing of the chorus and verses. Songs In the 1990’s many rock songs followed a verse-chorus form, which Brad Osborn likes to call the “verse-chorus paradigm” (Osborn, 2013, p. 23). <ref> Osborn, B. (2013). Subverting the Verse–Chorus Paradigm: Terminally Climactic Forms in Recent Rock Music. Music Theory Spectrum, 35(1), 23-47. doi:10.1525/mts.2013.35.1.23 </ref> or in less layman terms a verse-chorus pattern. Osborn then quotes John Covach who says “In a verse-chorus [form]...the focus of the song is squarely on the chorus...[T]he verses serve primarily to prepare the return of the chorus’’ (Osborn, 2013, p. 23) and this makes the song sound like it’s using the chorus as the main bringer of emotion to the song. Many grunge songs, due to the fact that they are part of the rock genre, did use this form. It allowed many of the emotions of the first verse to be realized and then an overall feeling of dissatisfaction to be released about these feelings. This can especially be seen in “Heart-Shaped Box” by Nirvana, which starts with verse 1 <div style="text-align: center;"> She eyes me like a Pisces when I am weak <br><br />
I've been locked inside your heart-shaped box for weeks <br><br />
I've been drawn into your magnetar pit trap trap <br><br />
I wish I could eat your cancer when you turn black<ref> https://play.google.com/music/preview/Ttdyvwmcelupwuxwf6fsabw2qwq?lyrics=1&utm_source=google&utm_medium=search&utm_campaign=lyrics&pcampaignid=kp-lyrics </ref> </div><br>. The music plays on the use of the verse-chorus form to highlight the emotions of feeling trapped and helpless, which are then built on during the chorus <div style="text-align: center;"> Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice <br><br />
Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice<br><br />
Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice, your advice<ref> https://play.google.com/music/preview/Ttdyvwmcelupwuxwf6fsabw2qwq?lyrics=1&utm_source=google&utm_medium=search&utm_campaign=lyrics&pcampaignid=kp-lyrics </ref> </div><br>. The chorus is emphasizing the trapped feeling the singer is feeling, which he compares to debt. He feels that he is ever in debt and trapped. The next verse, which is musically a mirror of the first verse, but the lyrics speak of the great helpless he feels. This form allows great emphasis on the chorus and it also climaxes at the end when the last chorus is repeated. However, not every grunge song contained this form. In Glycerine by Bush, the song has a much different form, but still allows the emotions of sorrow and regret be portrayed to the audience. <br />
It’s all about the emotions being reached. They did not need to use this form to release and tell all of the audience their problems. It can be reached just as well with other songs <br />
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== Musical analysis of songs ==<br />
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Taking what has been learned about harmony, rhythm, dynamics, and form and its importance to grunge music now lets look at some songs created in the "grunge" music style. Keep in mind that you're just taking a small slice of examples and that this table isn't all-encompassing. Also note that some of the harmony listed is a general overview of the keys/tonalities explored. Find out more about grunge music and its history [[Grunge in London|here]]. <br />
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{| class="wikitable" width="80%"<br />
|-<br />
! scope="row"| Grunge Music of the Late 1980's - Mid 1990's<br />
|-<br />
! Musical Elements <br />
! Heart Shaped Box <br />
! Black Hole Sun <br />
! Creep<br />
! Glycerine <br />
! Man in the Box<br />
|-<br />
! scope="row"| Artist <br />
| align="center"| Nirvana <br />
| align="center"| Soundgarden <br />
| align="center"| Radiohead<br />
| align="center"| Bush <br />
| align="center"| Alice in Chains <br />
|-<br />
! scope="row"| Rhythm<br />
| align="center"| <br />
* Time Signature: 4/4<br />
*Tempo: Moderately (108 - 120 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: 120 bpm<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: (90-93 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: Moderately (112-116 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: Moderately (107-109 bpm)<br />
|-<br />
! scope="row"| Harmony<br />
| align="center"| <br />
* Key: A minor<br />
*Major Chords: A5, F5, D5/ A, F5, D7<br />
*Chord Progressions: A5, F5, D5, A, D7<br />
| align="center"|<br />
* Key: F major<br />
*Major Chords: Gsus, G6, Bb6, F5, Em<br />
| align="center"|<br />
* Key: G major<br />
*Major Chords: G, B, C, Cm<br />
*Chord Progressions: G, B, C, Cm<br />
| align="center"|<br />
* Key: F major<br />
*Major Chords: F, C5, D5, Bb5<br />
*Chord Progressions: F, C5, D5, Bb5<br />
| align="center"|<br />
* Key: E minor <br />
* Major Chords: Em, E5, G, D, A<br />
*Chord Progressions: G5 G6 G5 G6 C E5<br />
|-<br />
! scope="row"| Dynamics <br />
| align="center"| <br />
*quite verse and roaring chorus <br />
| align="center"|<br />
*quite verse and roaring chorus <br />
| align="center"|<br />
*quite verse and roaring chorus <br />
*crescendo to chorus <br />
*decrescendo to verse <br />
| align="center"|<br />
*quite crescendo loud moderate level<br />
| align="center"|<br />
*moderate <br />
|-<br />
! scope="row"| Form <br />
| align="center"| <br />
*verse/chorus song form <br />
| align="center"|<br />
*verse/chorus song form <br />
| align="center"|<br />
*verse/chorus song form<br />
| align="center"|<br />
* verse/chorus/ bridge form <br />
| align="center"|<br />
*ABABB Form <br />
|- <br />
|}<br />
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=Section 2: Elements of Writing a Grunge Song=<br />
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So now that we have a solid understanding of what harmony, rhythm, dynamics, and form are and how they are used in grunge music, we are now ready to write a song that emphasizes the true elements of grunge music. Here we are going to go step by step and identify how to create one of these grunge songs. We will be looking back at both our background and analysis of grunge songs to help us determine the best way to make a number one seller like “Smells Like Teen Spirit” by Nirvana. If one is not familiar with a lot of grunge music, I would suggest looking at my page [[Grunge in London|Grunge in London]]. That page will give you more background and information about the grunge era and includes some of its iconic songs from artists both from America and London. The purpose of this is to create a light-hearted and funny guide that highlights the both the technical aspects of grunge music and its unique sound that was learned in the background. While also pointing out repetitive nature of the themes, its inaudible lyrics, and their creepy videos. This is all made in good fun and is not meant to diminish any of the personal problems that these singers faced. They had very serious problems that some were not able to overcome and many did use music as an outlet to express their emotions. But for our purposes, we are focusing more on the teen angst portion, which contains more insignificant problems like Wi-Fi buffering or not having the latest video game, which is trying to fit in with this current generation of teenagers in a world of technology. From this, we will produce steps to creating a chart-topping, show-stopping, musical genius of a grunge song that has the consideration of the elements of music we analyzed. <br />
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Grunge music was very much known for its aesthetic and its ability to connect with the youth of generation x or those born in the 1990’s. It covered many “distasteful” topics such as depression, suicide, and alienation, which many grunge artists experienced and fought a daily battle to overcome. Today, many still listen to grunge music and find it comforting to know that there were others out there going through the same struggles of feeling forgotten, rejected and lost. But for those who feel that grunge music does not fit in with their technology filled life, they may want to create a grunge song that covers a topic they feel creates negative feelings for them. So to get into the proper mindset to write this song, one must dig deep into the recesses of his or her feelings of teen angst to dig out some sort of darker emotions. May I suggest a YouTube video of a pug who can’t roll over, not having enough phone data, or trying to watch the finale of your favorite show but the Wi-Fi keeps buffering the video? Think of something that is basically insignificant to the rest of the world and only really matters to you. A bad selfie would qualify as a good one also but may need to be prefaced that it was posted to social media and your crush may see it. Horrifying I know! Once you have found the feelings you would like to express in your song, start thinking of how you would like to portray those emotions and what you would like the overall sound to be. These feelings will be the base of your song and all of your further decisions will be based on the mood created by these emotions. I have personally dug out from the recesses of my long-buried teen nerdy angst the feeling of anxiety and sorrow when my code wouldn’t compile. <br><br />
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Your next step is choosing how you would like to portray that to your listeners. I would do this by making it sound like the world will end if the code doesn’t work and that all will be lost. Don’t be afraid to be over dramatic. That’s what attracts people to the music is the drama and emotion. Right? Now that that has been cleared up, the actual song can now be written. One must start with the most crucial part first, the harmony. When done right, the harmony helps to create the emotion of the music. In grunge, musicians experimented with a variety of different techniques and ideas. They wanted to step out of the norm of alternative music. So, they experimented the chords of the music and found that when they distort the note a great deal it produces a much richer sound that reaches higher. Therefore, much of grunge music is written in 3 note chords which stem from a key signature. So, the first part of creating your harmony is deciding what key you would like your song, which you could do by picking you favorite note. I will be arbitrarily picking the key of F major. If you have a favorite key pick that one; it will make it more personal to you. Next, for choosing your chord progressions pick whatever sounds good together. Also, make sure to have at least one modulation of a note in there. It is a grunge classic and a must if you want your song to be grunge. This will create the dissonance you are looking for and will add to any emotion ranging from hatred to anxiety. Wow look at that, after playing with chords for a few hours, you will be able to get some chord progressions that you like. At this stage, you will also have to decide what instruments you would like to use. You honestly can’t go wrong with the grunge classic of guitar, bass guitar and drum set. If you are feeling fancy you could add another instrument to complement your theme and mood.<br><br />
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After your harmony is all figured out, which will probably take a while, you will need to figure out your rhythm. The rhythm as stated before is really based on the emotion of the song so you’re going to need to play around with the speeds until you feel it has reached the right mood to represent the emotions you are trying to portray. Many grunge pieces have a range from 90-120 (bpm), but feel free to choose one that best suits the song. Dynamics is another important part of the piece do to that fact it determines what sections are loud and what sections are softer. Many times gunge utilized dynamics to create a call and response type of sound in the song. It also had the power to create tension in a song so it may work for your song if that is what you are striving for. One may also put accents on different parts of the song where you want to highlight a lyrics. The last thing you’ll need is the form of the song or how it the song is constructed both lyrically and musically. It is all about the repetition of the song of the chorus and its verses. The classic rock and grunge form of the 1990s was the verse-chorus form that focused its attention to the chorus. This is a really nice form for if you are highlighting your chorus. Though all grunge songs did not use this form, they also achieved their aesthetic by used other forms. So feel free to look into other forms that may make your song more grunge. The last requirement to writing a grunge song is lyrics! All grunge songs contained lyrics that expressed their emotions, so make your lyrics emotional and full of angst. As a bonus, have your singer sing very muffled and with almost unintelligible manner. It seemed really popular with bands such as Nirvana and Radiohead. You can't really hear the lyrics but you still felt a deep emotional connection to them. Any of these steps can be done in any order, so maybe start with the harmony or lyrics and form. It's really up to you. Much of the genre was experimentation held together by angst and great chords. And there you have it! You have created the next “Smells Like Teen Spirit”. Now go out and share your amazing song with the world, brace the world for its awesomeness! <br />
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=Conclusion=<br />
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In this project, I did an analysis of music theory from the point of view of grunge music. Music, in general, is so incredibly versatile with its ability to change one element to change the whole song and its intentions. All of the elements of music are important to delivering the music’s message. So I decided to look at grunge music though four of the elements of music to give an in-depth analysis on how these elements create the grunge sound. I also looked for ways the elements of music tied the whole genre together and gave it its particular sound. Grunge music was a unique genre that popped up as a sub-genera of alternative music, so I wanted to see what made it stand out from the rest. I determined that the genre itself was notable for its emotional connection to the music. The artists took advantage of rhythm, form, dynamics, and harmony to fit their feelings of depression, angst, and anger. Most notable they changed the way chords were heard by distorting the music’s sounds. It created a fuller sound and changed the chord progressions. They were very experimental and passionate about their music and led me to a “pattern” in their music, which was that it had to be full of emotion and it had to have distortion of chords that allowed them to modulate certain notes. I was then able to play off of this pattern to create a satirized guide to creating grunge music. In the future, I would like to see more research done on patterns in grunge music because this music created a generation and still inspires many today. <br />
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=External Links=<br />
[[Grunge in London| Grunge in London]]<br />
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=References=<br />
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[[Category:Music Projects]]<br />
[[Category:2017]]<br />
<br><br></div>Kfconroyhttps://londonhuawiki.wpi.edu/index.php?title=Music_Theory_behind_Grunge_Music&diff=18740Music Theory behind Grunge Music2017-06-21T23:06:29Z<p>Kfconroy: </p>
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by [[User:Kfconroy|Katharine Conory]]<br><br />
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=Abstract=<br />
The objective of this milestone is to take all that I have learned from my Grunge in London Capstone to analysis the music under the lens of music theory. I hope to be able to see what grunge music has to offer by way of harmony, rhythm, dynamics, and form, which are some of the elements of all music. For my deliverable, I am taking all that I learned from this analysis of grunge music from a music theory background to create my own guide to what a grunge song would contain in the way of harmony, rhythm, dynamics and form with examples of what I would do. <br> <br><br />
For this project, I am drawing back on my past experience with music theory and my violin background. This is slightly challenging due to the fact that harmony for a violin is much simpler for a violin than a guitar. In high school, I took several music classes and was in both chorus and band. I hope to gain more knowledge about music theory and help others understand music as well. <br />
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=Introduction=<br />
This project is meant to introduce those who enjoy music to the music theory or backbone of music that makes it sounds a certain way or gives it a certain emotion. Music is defined by its elements, which allows a certain genre of music sounds different than another. So, I distinguished four important elements of music and did an in-depth analysis of each with a comparison of grunge to popular rock music of that time. From that analysis, I then produced a guide to producing gunge songs from a satirical background with examples of what I would do. <br> <br><br />
In my research, I found that grunge was more covered as a social and ethical topic with little being covered about the music itself. It was difficult to find much on the elements of music in respect to the grunge genre itself, but I did find some info on it under the umbrella of alternative. I discovered that its sound and style was primarily based off of the music’s harmony with the rhythm, form, and dynamics still very important to its overall sound. But, there was no real pattern to the music. Together in had a unique sound due to the harmonic practices, but what really kept the genre a genre was the music’s attitude and the taboo topics it tried to address. Each artist has its own unique style and sound but they all fell into the same genre. This project needs more research to fully grasp the musical differences between grunge music and the popular rock of the time. <br />
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=Section 1: Background=<br />
Grunge was a style choice, a cultural movement and most importantly a music style that appeared in the late 1980’s to the early 1990’s, which songs had focused on topics of a taboo nature such as alienation, depression, and suicide. The movement focused on using their music to enlighten those around them about the problems that they were suffering from, which resonated very well with the youth who were also facing many of those issues. It was very popular and topped many of the more well-known artists. It had a new an appealing sound that differed from the rock and pop music of day. Grunge music is considered to be a sub-genre of rock with heavy overlap with other rock subgenres such as alternative, metal, and punk <ref> STRONG, C. (2016). GRUNGE: music and memory. S.l.: ROUTLEDGE. </ref>.The music contained a dirty and raw sound guitar sound, which gave the genre its name. This music has a significant effect on the culture of the Seattle area where is was started, which is no surprise due to the fact that music has always been a major component of cultural changes in society. There have been many scholarly articles citing its importance and during this time there was a major shift in attitudes towards the world and the people who lived in it, which emphasized the feelings correlated to alienation, depression, and suicide. However one may ask how music, subtracting the lyrics, could evoke such feelings, which in fact brings me to the focus of this capstone; the music theory behind grunge music that gave it its unique sound. <br><br> <br />
The music theory behind grunge music will explain how this music became so unique, but this calls into question of the definition music. In the most literal idea, one can see music as “vibrations in the air that are observed by us and then interpreted as sounds. These sounds play out over time, meaning that music is, therefore, sound over time” <ref> Samama, L., & Clements, D. (2016). What is music? In The Meaning of Music (pp. 27-31). Amsterdam University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/j.ctt1b9x1ts.5</ref>. However, that is way too literal and would infer that all sounds are music like all paintings are works of art. Music is way more sophisticated and can be seen as “multi-dimensional (and a) multimedia phenomenon’’ <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017.</ref>. Therefore music is grouped into seven different elements, which are rhythm, dynamics, melody, harmony, tone color, texture, and form to help identify the key differences between grunge music and say rap. These elements added to the sound and identity of the genre, so much so it stood out from the rest of the alternative genre, which grunge was a subgenre of, during that era. Below I have chosen 4 elements I feel distinguished the grunge genre of from that which was popular during the 1990’s and created the special sound to the music that allowed the artists to express their emotions. <br><br> <br />
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==Musical Elements ==<br />
===Harmony === <br />
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Harmony is very important to the creation of music, due to the fact it the way notes are played in relation to each other. This is a very technical and complex element of music that can be fairly hard to understand, so it is important to start at the beginning. There are seven notes in all of the music, not including all of the flats and sharps, A, B, C, D, E, F, G and these are the building blocks on which songs can then be built. The full list of notes which contain all the flats (b) and sharps (#) starting at A is '''A''', A#/Bb, '''B''', C, '''C#/Db''', '''D''', D#/Eb, '''E''', F, '''F#/Gb''', G, '''G#/Ab''', '''A''' and follows a pattern of 2212221, which gives a scale of A major. The pattern is followed by the bolded letters produces A, B, C#, D, E, F#, G#, and A as the A Major Scale. From the scale, one can then produce all of the chords that can be made from that key. A chord is several notes played together to that are separated by thirds, which produce notes that complement each other very well. The chords for an A major key would contain AC#E I (major), BDF# ii (minor), C#EG# iii (minor), DF#A IV (major), EG#B V (major), F#AC# vi (minor), G#BD vii0 (diminished). To form these 3 note chords, one takes the scale and starts at the first note in the scale, which in our case is A. Then, skip the next note, B, and chose C# to do this again for the third and last note of the chord. Your final chord will be AC#E, which is a major chord and they you do it for B, C#, etc. for the rest of the chords until you come back to your original note A. The chords are in a pattern of major, minor, minor, major, major, minor, and diminished, which are shown by the capitalized Roman numerals rather than the lower case ones and the 0 at the end means diminished. Another name this goes by is diatonic harmony and all this is the way notes relate with each other in a certain key. All of this can be replicated for all of the other keys in music to get chords. These chords then can be played in succession after one another and produce a chord progression. Some commonly used chord progressions in the key of A are ADE (I – IV- V) and BEA (ii-V-I). These chords and chord progression are what creates the harmony in the song and they are often used in term of how harsh they sound. The harshness of chords is quantified into dissonance and consonance. Dissonance is a very harsh sounding harmony and its chords known for creating tension in a piece. Consonance is a smooth sounding harmony that creates consonant chords, which resolves tension created by the dissonant chords. Chords are very important to music because it truly creates the mood of the music. More dissonant sounding music sounds almost unstable, eerie and sad. A really good example is Mozart’s Quartetto K. 465 "delle dissonanze". One can hear the very dissonant beginning and then throughout the rest of the piece, one can hear how dissonance is resolved by consonance (The Elements Of Music, 2017, p. 3). <htmltag tagname="iframe" id= width="200" height="150" src="https://www.youtube.com/embed/08uY0-ehL-w" frameborder="0" allowfullscreen></htmltag> <br />
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In grunge music, harmony played a large part in creating its aesthetic and sound. This music was very powerful and was known to use “power chords” (McDonald, 2000, p.355) as a “set of harmonic practices that rock musicians, particularly those who participate in the domain of guitar-oriented 'alternative' rock, have been using” (McDonald, 2000, p.355) <ref> McDonald, C. (2000). Exploring modal subversions in alternative music. Popular Music, 19(3), 355-363. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/853641 </ref>. These musicians were trying to break the mold of rock and alternative music so they tried new practices such as distorting the guitar’s sounds and choosing unique chord combinations. An example of this was the change of the power chords, which are normally fifths or fourths (McDonald, 2000, p.356). However, do to the heavy guitar distortion, created by overloading the signal into the amplifier, it created a more complex sound that allowed more sound to come from the notes played. This distortion allowed chords done in thirds to have a richer and fuller sounds and as a byproduct created a very dissonant sound (Biamonte, 2010, p. 97). Another in interesting part to grunge’s harmony was its use of “third or cross relations” (McDonald, 2000, p.357) that allows songs that were written in the key of A major and as we determined before C# would be the C note used, however in grunge music the C would incongruently change a minor third to C5 or Cb. This is what author Chris McDonald calls “modal subversion” (McDonald, 2000, p.357). It used constantly in these songs and an example of it would be in “Smells like Teen Spirit” by Nirvana. In this song the key is in F minor and in that scale A is natural but in “Smells like Teen Spirit” the A modulates to Ab (Osborn, 2013, 31) <ref> Osborn, B. (2013). Subverting the Verse–Chorus paradigm; terminally climactic forms in recent rock music. Music Theory Spectrum, 35(1), 23-47. doi:10.1525/mts.2013.35.1.23 <br />
</ref>. This a common theme in many grunge songs and gives its unique sounds, aesthetic, and emotion. <br />
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=== Rhythm ===<br />
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In music, the rhythm of a song is the time in which a song is played. This can be seen when a person is tapping one’s foot to the beat. The rhythm of the song is very important in creating the emotions of the song due to the fact that it determines how fast the piece is going to be. Encompassed in rhythm are sub-topics of duration, tempo, and meter, which helps the listener and musician to follow the structure of the piece. Rhythm tends to be more the technical part of the song but it carries much importance because without it the song would be a mess of lyrics and instruments without direction. So the duration is the length of time between each note and silence. It is used to bring attention to a certain section of the song because a very long note or silence is jarring to the listener. A silence can bring emphasis to the next note and add a complexity to the tempo of the song. The meter of the song is the repetition of accents and stresses that are arranged into the recognizable beat of the song. In a song, the accented notes tend to be the first note of the measure, however, to create more drama many artists utilize syncopation or the putting of accents on off-beats. The meter is emphasized by the song’s tempo or speed at which the beat is played. It is often known as beats per minute (bpm). The tempo of the song determines the level of excitement and mood of the song. It has been said by Gow that “the time-pattern upon his attention must be the excuse for the common conception of rhythm as the emotional element in music” (Gow, 1915, p. 637) or in layman terms. The pattern of sound, silence, and speed adds significantly to the emotions and feeling drawn from the piece so it is imperative that the artist uses the correct rhythm and tempo for the desired effect. An example of this would be how slow blues music tends to be around the 60 bpm and rock and roll music tends to be about 175 bpm. (Gow, 1915, p. 637- 642)<ref> Gow, G. (1915). Rhythm: The Life of Music. The Musical Quarterly, 1(4), 637-652. Retrieved from http://www.jstor.org/stable/738071 </ref> <br />
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Grunge music is all about the aesthetic of the music and many times it is difficult to derive the meaning of the lyrics due to the vocal quality or symbolic meaning of the lyrics. So it’s imperative to set the right tone via the rhythm because without that the song could be changed from a very dark and emotional piece to one that sounds happy and light. Therefore, the duration of the notes and silences have to create drama and angst. The meter must accentuate the right beat and word of the lyrics to make them pop. One consistency round most grunge music is its timed meter, which was 4/4 time or four beats per measure. The emphasis on notes tended to be inconsistent though because it was really dependent on the lyrics. Some songs did use accents of off-beats to draw more attention to one part or another. Meter also creates the structure to the song. Without that the song has very similar and boring notes with no structure. The tempo has to give the song the right attitude. So in grunge music artists wanted a tempo to reflect sadness and depression that they often felt, but they but they wanted to be interesting and attention grabbing. So many artist chooses tempos from around 90-120 (bpm) there was no exact range to the tempos. It was really up to the musician’s ear. However, one can tell that the artist chose the right tempo, if the emotions were portrayed foremost in the music. A good example would be to speed up or slow down a grunge song.<br />
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When that is done, ignoring the higher pitch of Cobain's voice, it is obvious that one will not get the same emphasis on themes of the music leaving the song useless to the artist. The grunge artist needed the aesthetic of angst and pain to drip from the lyrics to get his point across. <br />
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=== Dynamics ===<br />
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The dynamics of a song is the loudness and or softness at which the song is played at. A song can be played very loudly, fortissimo, or very softly, pianissimo, and it would create a different interpretation of the song. Some genres of music tend to produce quieter music while others like to blast their audience with their music. An artist can also have a range of volumes with many choosing sections of their song to be quieter to emphasize the words or the music’s complexity and others sections being softer to portray emotions. Sometimes the artist wants to create a buildup of tension in the song so he or she will use a crescendo, getting louder, or a decrescendo, getting softer to achieve it. Another part of dynamics, which was touched on in rhythm, is accenting a note or “leaning into a note” <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017. </ref> and it creates a unique sound. It is important to use dynamics because it keeps the music interesting. A lovely example that many people have probably heard before would be in Richard Strauss's Also Sprach Zarathustra, Op. 30. <br><br />
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It starts our pianissimo and then crescendos to fortissimo until it is absolutely blaring. These dynamics are meant to grab the attention of the audience and awaken anyone who has fallen asleep during the very quiet part. Dynamics are an important part of the music creation process due to the fact that a combination of these dynamics creates the genre's signature style. Hardcore rock is known to bombard their audience with sound while other genres such as country tend to have a moderate volume. <br />
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Dynamics is another really important element in grunge music because it can be used as an emphasis on particular parts of the song. The song could go from a verse of quiet reflection to a chorus of raging anger. This element is interlinked with all of the other elements to create the song the way that artist meant to portray it. Many of the grunge artists use dynamics to emphasize the themes of the song. So while many songs of the grunge genre do tend to vacillate between very loud and quiet, not every song does. It all depends on the themes and emotions of the songs. An example of the differences would be comparing the dynamics of Black Hole Sun by Soundgarden and Glycerine by Bush. They are both classified under the genre of grunge music, but they have totally different dynamics. In Black Hole Sun, the first verse starts out pretty quiet to emphasize the almost euphoric nature of words and the invisibility the singer feels. Then in the chorus, there is a large increase in volume which tries to capture the anger and pain of his invisibility. However, in Glycerine, the verse starts out pretty quiet and has a mournful tone and it crescendos ever so slightly into the chorus which is still mournful plus a bit remorseful also. The dynamics are used in grunge as an emphasis on certain feelings and emotions and though some do have a pattern of a quite verse and loud chorus some use other dynamics to get their point across. <br />
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=== Form ===<br />
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In music, the element of form is a combination of the repetition, contrast, and continuity that creates a song’s uniqueness. The form is very dependent on the other elements of music because it is the way the music is arranged. There is a mixture of musical ideas that are carefully arranged to create the meaning behind the music, which is illustrated when the chorus, speaking both lyrically and instrumentally, is repeated. To differentiate the diversions in music, letters such as A, B, C, are used. This is used determine the slight variation in musical patterns. Repetition is often utilized in form to set the theme of the song. This is seen when the chorus is repeated or the verse lyrics change and music stays the same. Repetition in music is known to create continuity and is usually done with a catchy chorus. Contrarily when there is a change or contrast in music, it is often used to note a shift in mood. The form includes a myriad of types including strophic, binary, verse/chorus song, and ternary forms. These types of forms are derived from the repetition, contrast, and continuity referred to previously. The strophic form is when the same music is repeated over and over for several verses of music. This is the most basic form, which lacks contrast and is all repetition. The message the song is trying to portray is usually very elementary. In the binary form, there are two parts. It uses contrast to highlight the question answer music phrasing between the similar phrasing contrasting section. A combination between the binary and strophic forms is the Verse/ Chorus Song form. It alternates between the storytelling verses, which contain different lyrics each verse, and the recurring chorus. <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017</ref>. It creates the feeling of familiarity and allows for many ideas and feelings to be told and then reiterated in the chorus, which is very important in grunge music. The last form being covered is the ternary from. It is a three-part form that has a repletion of the first verse, with different lyrics, which then processes to the chorus and returns back to the theme of the first verse. The form is very diverse in music and can evoke different emotions. So one can see how important it is to grunge music because of its ability to highlight the different parts of the song through repetition, contrast, and continuity. <br />
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Grunge music is primarily about emotions and social issues that plagued many of the youth during that time, so it is very important to have the music bring attention to these issues through the phrasing of the chorus and verses. Songs In the 1990’s many rock songs followed a verse-chorus form, which Brad Osborn likes to call the “verse-chorus paradigm” (Osborn, 2013, p. 23). <ref> Osborn, B. (2013). Subverting the Verse–Chorus Paradigm: Terminally Climactic Forms in Recent Rock Music. Music Theory Spectrum, 35(1), 23-47. doi:10.1525/mts.2013.35.1.23 </ref> or in less layman terms a verse-chorus pattern. Osborn then quotes John Covach who says “In a verse-chorus [form]...the focus of the song is squarely on the chorus...[T]he verses serve primarily to prepare the return of the chorus’’ (Osborn, 2013, p. 23) and this makes the song sound like it’s using the chorus as the main bringer of emotion to the song. Many grunge songs, due to the fact that they are part of the rock genre, did use this form. It allowed many of the emotions of the first verse to be realized and then an overall feeling of dissatisfaction to be released about these feelings. This can especially be seen in “Heart-Shaped Box” by Nirvana, which starts with verse 1 <div style="text-align: center;"> She eyes me like a Pisces when I am weak <br><br />
I've been locked inside your heart-shaped box for weeks <br><br />
I've been drawn into your magnetar pit trap trap <br><br />
I wish I could eat your cancer when you turn black<ref> https://play.google.com/music/preview/Ttdyvwmcelupwuxwf6fsabw2qwq?lyrics=1&utm_source=google&utm_medium=search&utm_campaign=lyrics&pcampaignid=kp-lyrics </ref> </div><br>. The music plays on the use of the verse-chorus form to highlight the emotions of feeling trapped and helpless, which are then built on during the chorus <div style="text-align: center;"> Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice <br><br />
Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice<br><br />
Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice, your advice<ref> https://play.google.com/music/preview/Ttdyvwmcelupwuxwf6fsabw2qwq?lyrics=1&utm_source=google&utm_medium=search&utm_campaign=lyrics&pcampaignid=kp-lyrics </ref> </div><br>. The chorus is emphasizing the trapped feeling the singer is feeling, which he compares to debt. He feels that he is ever in debt and trapped. The next verse, which is musically a mirror of the first verse, but the lyrics speak of the great helpless he feels. This form allows great emphasis on the chorus and it also climaxes at the end when the last chorus is repeated. However, not every grunge song contained this form. In Glycerine by Bush, the song has a much different form, but still allows the emotions of sorrow and regret be portrayed to the audience. <br />
It’s all about the emotions being reached. They did not need to use this form to release and tell all of the audience their problems. It can be reached just as well with other songs <br />
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== Musical analysis of songs ==<br />
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Taking what has been learned about harmony, rhythm, dynamics, and form and its importance to grunge music now lets look at some songs created in the "grunge" music style. Keep in mind that you're just taking a small slice of examples and that this table isn't all-encompassing. Also note that some of the harmony listed is a general overview of the keys/tonalities explored. Find out more about grunge music and its history [[Grunge in London|here]]. <br />
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{| class="wikitable" width="80%"<br />
|-<br />
! scope="row"| Grunge Music of the Late 1980's - Mid 1990's<br />
|-<br />
! Musical Elements <br />
! Heart Shaped Box <br />
! Black Hole Sun <br />
! Creep<br />
! Glycerine <br />
! Man in the Box<br />
|-<br />
! scope="row"| Artist <br />
| align="center"| Nirvana <br />
| align="center"| Soundgarden <br />
| align="center"| Radiohead<br />
| align="center"| Bush <br />
| align="center"| Alice in Chains <br />
|-<br />
! scope="row"| Rhythm<br />
| align="center"| <br />
* Time Signature: 4/4<br />
*Tempo: Moderately (108 - 120 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: 120 bpm<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: (90-93 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: Moderately (112-116 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: Moderately (107-109 bpm)<br />
|-<br />
! scope="row"| Harmony<br />
| align="center"| <br />
* Key: A minor<br />
*Major Chords: A5, F5, D5/ A, F5, D7<br />
*Chord Progressions: A5, F5, D5, A, D7<br />
| align="center"|<br />
* Key: F major<br />
*Major Chords: Gsus, G6, Bb6, F5, Em<br />
| align="center"|<br />
* Key: G major<br />
*Major Chords: G, B, C, Cm<br />
*Chord Progressions: G, B, C, Cm<br />
| align="center"|<br />
* Key: F major<br />
*Major Chords: F, C5, D5, Bb5<br />
*Chord Progressions: F, C5, D5, Bb5<br />
| align="center"|<br />
* Key: E minor <br />
* Major Chords: Em, E5, G, D, A<br />
*Chord Progressions: G5 G6 G5 G6 C E5<br />
|-<br />
! scope="row"| Dynamics <br />
| align="center"| <br />
*quite verse and roaring chorus <br />
| align="center"|<br />
*quite verse and roaring chorus <br />
| align="center"|<br />
*quite verse and roaring chorus <br />
*crescendo to chorus <br />
*decrescendo to verse <br />
| align="center"|<br />
*quite crescendo loud moderate level<br />
| align="center"|<br />
*moderate <br />
|-<br />
! scope="row"| Form <br />
| align="center"| <br />
*verse/chorus song form <br />
| align="center"|<br />
*verse/chorus song form <br />
| align="center"|<br />
*verse/chorus song form<br />
| align="center"|<br />
* verse/chorus/ bridge form <br />
| align="center"|<br />
*ABABB Form <br />
|- <br />
|}<br />
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=Section 2: Elements of Writing a Grunge Song=<br />
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So now that we have a solid understanding of what harmony, rhythm, dynamics, and form are and how they are used in grunge music, we are now ready to write a song that emphasizes the true elements of grunge music. Here we are going to go step by step and identify how to create one of these grunge songs. We will be looking back at both our background and analysis of grunge songs to help us determine the best way to make a number one seller like “Smells Like Teen Spirit” by Nirvana. If one is not familiar with a lot of grunge music, I would suggest looking at my page [[Grunge in London|Grunge in London]]. That page will give you more background and information about the grunge era and includes some of its iconic songs from artists both from America and London. The purpose of this is to create a light-hearted and funny guide that highlights the both the technical aspects of grunge music and its unique sound that was learned in the background. While also pointing out repetitive nature of the themes, its inaudible lyrics, and their creepy videos. This is all made in good fun and is not meant to diminish any of the personal problems that these singers faced. They had very serious problems that some were not able to overcome and many did use music as an outlet to express their emotions. But for our purposes, we are focusing more on the teen angst portion, which contains more insignificant problems like Wi-Fi buffering or not having the latest video game, which is trying to fit in with this current generation of teenagers in a world of technology. From this, we will produce steps to creating a chart-topping, show-stopping, musical genius of a grunge song that has the consideration of the elements of music we analyzed. <br />
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Grunge music was very much known for its aesthetic and its ability to connect with the youth of generation x or those born in the 1990’s. It covered many “distasteful” topics such as depression, suicide, and alienation, which many grunge artists experienced and fought a daily battle to overcome. Today, many still listen to grunge music and find it comforting to know that there were others out there going through the same struggles of feeling forgotten, rejected and lost. But for those who feel that grunge music does not fit in with their technology filled life, they may want to create a grunge song that covers a topic they feel creates negative feelings for them. So to get into the proper mindset to write this song, one must dig deep into the recesses of his or her feelings of teen angst to dig out some sort of darker emotions. May I suggest a YouTube video of a pug who can’t roll over, not having enough phone data, or trying to watch the finale of your favorite show but the Wi-Fi keeps buffering the video? Think of something that is basically insignificant to the rest of the world and only really matters to you. A bad selfie would qualify as a good one also but may need to be prefaced that it was posted to social media and your crush may see it. Horrifying I know! Once you have found the feelings you would like to express in your song, start thinking of how you would like to portray those emotions and what you would like the overall sound to be. These feelings will be the base of your song and all of your further decisions will be based on the mood created by these emotions. I have personally dug out from the recesses of my long-buried teen nerdy angst the feeling of anxiety and sorrow when my code wouldn’t compile. <br><br />
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Your next step is choosing how you would like to portray that to your listeners. I would do this by making it sound like the world will end if the code doesn’t work and that all will be lost. Don’t be afraid to be over dramatic. That’s what attracts people to the music is the drama and emotion. Right? Now that that has been cleared up, the actual song can now be written. One must start with the most crucial part first, the harmony. When done right, the harmony helps to create the emotion of the music. In grunge, musicians experimented with a variety of different techniques and ideas. They wanted to step out of the norm of alternative music. So, they experimented the chords of the music and found that when they distort the note a great deal it produces a much richer sound that reaches higher. Therefore, much of grunge music is written in 3 note chords which stem from a key signature. So, the first part of creating your harmony is deciding what key you would like your song, which you could do by picking you favorite note. I will be arbitrarily picking the key of F major. If you have a favorite key pick that one; it will make it more personal to you. Next, for choosing your chord progressions pick whatever sounds good together. Also, make sure to have at least one modulation of a note in there. It is a grunge classic and a must if you want your song to be grunge. This will create the dissonance you are looking for and will add to any emotion ranging from hatred to anxiety. Wow look at that, after playing with chords for a few hours, you will be able to get some chord progressions that you like. At this stage, you will also have to decide what instruments you would like to use. You honestly can’t go wrong with the grunge classic of guitar, bass guitar and drum set. If you are feeling fancy you could add another instrument to complement your theme and mood.<br><br />
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After your harmony is all figured out, which will probably take a while, you will need to figure out your rhythm. The rhythm as stated before is really based on the emotion of the song so you’re going to need to play around with the speeds until you feel it has reached the right mood to represent the emotions you are trying to portray. Many grunge pieces have a range from 90-120 (bpm), but feel free to choose one that best suits the song. Dynamics is another important part of the piece do to that fact it determines what sections are loud and what sections are softer. Many times gunge utilized dynamics to create a call and response type of sound in the song. It also had the power to create tension in a song so it may work for your song if that is what you are striving for. One may also put accents on different parts of the song where you want to highlight a lyrics. The last thing you’ll need is the form of the song or how it the song is constructed both lyrically and musically. It is all about the repetition of the song of the chorus and its verses. The classic rock and grunge form of the 1990s was the verse-chorus form that focused its attention to the chorus. This is a really nice form for if you are highlighting your chorus. Though all grunge songs did not use this form, they also achieved their aesthetic by used other forms. So feel free to look into other forms that may make your song more grunge. The last requirement to writing a grunge song is lyrics! All grunge songs contained lyrics that expressed their emotions, so make your lyrics emotional and full of angst. As a bonus, have your singer sing very muffled and with almost unintelligible manner. It seemed really popular with bands such as Nirvana and Radiohead. You can't really hear the lyrics but you still felt a deep emotional connection to them. Any of these steps can be done in any order, so maybe start with the harmony or lyrics and form. It's really up to you. Much of the genre was experimentation held together by angst and great chords. And there you have it! You have created the next “Smells Like Teen Spirit”. Now go out and share your amazing song with the world, brace the world for its awesomeness! <br />
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=Conclusion=<br />
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In this project, I did an analysis of music theory from the point of view of grunge music. Music, in general, is so incredibly versatile with its ability to change one element to change the whole song and its intentions. All of the elements of music are important to delivering the music’s message. So I decided to look at grunge music though four of the elements of music to give an in-depth analysis on how these elements create the grunge sound. I also looked for ways the elements of music tied the whole genre together and gave it its particular sound. Grunge music was a unique genre that popped up as a sub-genera of alternative music, so I wanted to see what made it stand out from the rest. I determined that the genre itself was notable for its emotional connection to the music. The artists took advantage of rhythm, form, dynamics, and harmony to fit their feelings of depression, angst, and anger. Most notable they changed the way chords were heard by distorting the music’s sounds. It created a fuller sound and changed the chord progressions. They were very experimental and passionate about their music and led me to a “pattern” in their music, which was that it had to be full of emotion and it had to have distortion of chords that allowed them to modulate certain notes. I was then able to play off of this pattern to create a satirized guide to creating grunge music. In the future, I would like to see more research done on patterns in grunge music because this music created a generation and still inspires many today. <br />
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=External Links=<br />
[[Grunge in London| Grunge in London]]<br />
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=References=<br />
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[[Category:Music Projects]]<br />
[[Category:2017]]<br />
<br><br></div>Kfconroyhttps://londonhuawiki.wpi.edu/index.php?title=Music_Theory_behind_Grunge_Music&diff=18737Music Theory behind Grunge Music2017-06-21T23:03:08Z<p>Kfconroy: </p>
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by [[User:Kfconroy|Katharine Conory]]<br><br />
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=Abstract=<br />
The objective of this milestone is to take all that I have learned from my Grunge in London Capstone to analysis the music under the lens of music theory. I hope to be able to see what grunge music has to offer by way of harmony, rhythm, dynamics, and form, which are some of the elements of all music. For my deliverable, I am taking all that I learned from this analysis of grunge music from a music theory background to create my own guide to what a grunge song would contain in the way of harmony, rhythm, dynamics and form with examples of what I would do. <br> <br><br />
For this project, I am drawing back on my past experience with music theory and my violin background. This is slightly challenging due to the fact that harmony for a violin is much simpler for a violin than a guitar. In high school, I took several music classes and was in both chorus and band. I hope to gain more knowledge about music theory and help others understand music as well. <br />
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=Introduction=<br />
This project is meant to introduce those who enjoy music to the music theory or backbone of music that makes it sounds a certain way or gives it a certain emotion. Music is defined by its elements, which allows a certain genre of music sounds different than another. So, I distinguished four important elements of music and did an in-depth analysis of each with a comparison of grunge to popular rock music of that time. From that analysis, I then produced a guide to producing my own gunge song with examples of what I would do. <br> <br><br />
In my research, I found that grunge was more covered as a social and ethical topic with little being covered about the music itself. It was difficult to find much on the elements of music in respect to the grunge genre itself, but I did find some info on it under the umbrella of alternative. I discovered that its sound and style was primarily based off of the music’s harmony with the rhythm, form, and dynamics still very important to its overall sound. But, there was no real pattern to the music. Together in had a unique sound due to the harmonic practices, but what really kept the genre a genre was the music’s attitude and the taboo topics it tried to address. Each artist has its own unique style and sound but they all fell into the same genre. This project needs more research to fully grasp the musical differences between grunge music and the popular rock of the time. <br />
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=Section 1: Background=<br />
Grunge was a style choice, a cultural movement and most importantly a music style that appeared in the late 1980’s to the early 1990’s, which songs had focused on topics of a taboo nature such as alienation, depression, and suicide. The movement focused on using their music to enlighten those around them about the problems that they were suffering from, which resonated very well with the youth who were also facing many of those issues. It was very popular and topped many of the more well-known artists. It had a new an appealing sound that differed from the rock and pop music of day. Grunge music is considered to be a sub-genre of rock with heavy overlap with other rock subgenres such as alternative, metal, and punk <ref> STRONG, C. (2016). GRUNGE: music and memory. S.l.: ROUTLEDGE. </ref>.The music contained a dirty and raw sound guitar sound, which gave the genre its name. This music has a significant effect on the culture of the Seattle area where is was started, which is no surprise due to the fact that music has always been a major component of cultural changes in society. There have been many scholarly articles citing its importance and during this time there was a major shift in attitudes towards the world and the people who lived in it, which emphasized the feelings correlated to alienation, depression, and suicide. However one may ask how music, subtracting the lyrics, could evoke such feelings, which in fact brings me to the focus of this capstone; the music theory behind grunge music that gave it its unique sound. <br><br> <br />
The music theory behind grunge music will explain how this music became so unique, but this calls into question of the definition music. In the most literal idea, one can see music as “vibrations in the air that are observed by us and then interpreted as sounds. These sounds play out over time, meaning that music is, therefore, sound over time” <ref> Samama, L., & Clements, D. (2016). What is music? In The Meaning of Music (pp. 27-31). Amsterdam University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/j.ctt1b9x1ts.5</ref>. However, that is way too literal and would infer that all sounds are music like all paintings are works of art. Music is way more sophisticated and can be seen as “multi-dimensional (and a) multimedia phenomenon’’ <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017.</ref>. Therefore music is grouped into seven different elements, which are rhythm, dynamics, melody, harmony, tone color, texture, and form to help identify the key differences between grunge music and say rap. These elements added to the sound and identity of the genre, so much so it stood out from the rest of the alternative genre, which grunge was a subgenre of, during that era. Below I have chosen 4 elements I feel distinguished the grunge genre of from that which was popular during the 1990’s and created the special sound to the music that allowed the artists to express their emotions. <br><br> <br />
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==Musical Elements ==<br />
===Harmony === <br />
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Harmony is very important to the creation of music, due to the fact it the way notes are played in relation to each other. This is a very technical and complex element of music that can be fairly hard to understand, so it is important to start at the beginning. There are seven notes in all of the music, not including all of the flats and sharps, A, B, C, D, E, F, G and these are the building blocks on which songs can then be built. The full list of notes which contain all the flats (b) and sharps (#) starting at A is '''A''', A#/Bb, '''B''', C, '''C#/Db''', '''D''', D#/Eb, '''E''', F, '''F#/Gb''', G, '''G#/Ab''', '''A''' and follows a pattern of 2212221, which gives a scale of A major. The pattern is followed by the bolded letters produces A, B, C#, D, E, F#, G#, and A as the A Major Scale. From the scale, one can then produce all of the chords that can be made from that key. A chord is several notes played together to that are separated by thirds, which produce notes that complement each other very well. The chords for an A major key would contain AC#E I (major), BDF# ii (minor), C#EG# iii (minor), DF#A IV (major), EG#B V (major), F#AC# vi (minor), G#BD vii0 (diminished). To form these 3 note chords, one takes the scale and starts at the first note in the scale, which in our case is A. Then, skip the next note, B, and chose C# to do this again for the third and last note of the chord. Your final chord will be AC#E, which is a major chord and they you do it for B, C#, etc. for the rest of the chords until you come back to your original note A. The chords are in a pattern of major, minor, minor, major, major, minor, and diminished, which are shown by the capitalized Roman numerals rather than the lower case ones and the 0 at the end means diminished. Another name this goes by is diatonic harmony and all this is the way notes relate with each other in a certain key. All of this can be replicated for all of the other keys in music to get chords. These chords then can be played in succession after one another and produce a chord progression. Some commonly used chord progressions in the key of A are ADE (I – IV- V) and BEA (ii-V-I). These chords and chord progression are what creates the harmony in the song and they are often used in term of how harsh they sound. The harshness of chords is quantified into dissonance and consonance. Dissonance is a very harsh sounding harmony and its chords known for creating tension in a piece. Consonance is a smooth sounding harmony that creates consonant chords, which resolves tension created by the dissonant chords. Chords are very important to music because it truly creates the mood of the music. More dissonant sounding music sounds almost unstable, eerie and sad. A really good example is Mozart’s Quartetto K. 465 "delle dissonanze". One can hear the very dissonant beginning and then throughout the rest of the piece, one can hear how dissonance is resolved by consonance (The Elements Of Music, 2017, p. 3). <htmltag tagname="iframe" id= width="200" height="150" src="https://www.youtube.com/embed/08uY0-ehL-w" frameborder="0" allowfullscreen></htmltag> <br />
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In grunge music, harmony played a large part in creating its aesthetic and sound. This music was very powerful and was known to use “power chords” (McDonald, 2000, p.355) as a “set of harmonic practices that rock musicians, particularly those who participate in the domain of guitar-oriented 'alternative' rock, have been using” (McDonald, 2000, p.355) <ref> McDonald, C. (2000). Exploring modal subversions in alternative music. Popular Music, 19(3), 355-363. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/853641 </ref>. These musicians were trying to break the mold of rock and alternative music so they tried new practices such as distorting the guitar’s sounds and choosing unique chord combinations. An example of this was the change of the power chords, which are normally fifths or fourths (McDonald, 2000, p.356). However, do to the heavy guitar distortion, created by overloading the signal into the amplifier, it created a more complex sound that allowed more sound to come from the notes played. This distortion allowed chords done in thirds to have a richer and fuller sounds and as a byproduct created a very dissonant sound (Biamonte, 2010, p. 97). Another in interesting part to grunge’s harmony was its use of “third or cross relations” (McDonald, 2000, p.357) that allows songs that were written in the key of A major and as we determined before C# would be the C note used, however in grunge music the C would incongruently change a minor third to C5 or Cb. This is what author Chris McDonald calls “modal subversion” (McDonald, 2000, p.357). It used constantly in these songs and an example of it would be in “Smells like Teen Spirit” by Nirvana. In this song the key is in F minor and in that scale A is natural but in “Smells like Teen Spirit” the A modulates to Ab (Osborn, 2013, 31) <ref> Osborn, B. (2013). Subverting the Verse–Chorus paradigm; terminally climactic forms in recent rock music. Music Theory Spectrum, 35(1), 23-47. doi:10.1525/mts.2013.35.1.23 <br />
</ref>. This a common theme in many grunge songs and gives its unique sounds, aesthetic, and emotion. <br />
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=== Rhythm ===<br />
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In music, the rhythm of a song is the time in which a song is played. This can be seen when a person is tapping one’s foot to the beat. The rhythm of the song is very important in creating the emotions of the song due to the fact that it determines how fast the piece is going to be. Encompassed in rhythm are sub-topics of duration, tempo, and meter, which helps the listener and musician to follow the structure of the piece. Rhythm tends to be more the technical part of the song but it carries much importance because without it the song would be a mess of lyrics and instruments without direction. So the duration is the length of time between each note and silence. It is used to bring attention to a certain section of the song because a very long note or silence is jarring to the listener. A silence can bring emphasis to the next note and add a complexity to the tempo of the song. The meter of the song is the repetition of accents and stresses that are arranged into the recognizable beat of the song. In a song, the accented notes tend to be the first note of the measure, however, to create more drama many artists utilize syncopation or the putting of accents on off-beats. The meter is emphasized by the song’s tempo or speed at which the beat is played. It is often known as beats per minute (bpm). The tempo of the song determines the level of excitement and mood of the song. It has been said by Gow that “the time-pattern upon his attention must be the excuse for the common conception of rhythm as the emotional element in music” (Gow, 1915, p. 637) or in layman terms. The pattern of sound, silence, and speed adds significantly to the emotions and feeling drawn from the piece so it is imperative that the artist uses the correct rhythm and tempo for the desired effect. An example of this would be how slow blues music tends to be around the 60 bpm and rock and roll music tends to be about 175 bpm. (Gow, 1915, p. 637- 642)<ref> Gow, G. (1915). Rhythm: The Life of Music. The Musical Quarterly, 1(4), 637-652. Retrieved from http://www.jstor.org/stable/738071 </ref> <br />
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Grunge music is all about the aesthetic of the music and many times it is difficult to derive the meaning of the lyrics due to the vocal quality or symbolic meaning of the lyrics. So it’s imperative to set the right tone via the rhythm because without that the song could be changed from a very dark and emotional piece to one that sounds happy and light. Therefore, the duration of the notes and silences have to create drama and angst. The meter must accentuate the right beat and word of the lyrics to make them pop. One consistency round most grunge music is its timed meter, which was 4/4 time or four beats per measure. The emphasis on notes tended to be inconsistent though because it was really dependent on the lyrics. Some songs did use accents of off-beats to draw more attention to one part or another. Meter also creates the structure to the song. Without that the song has very similar and boring notes with no structure. The tempo has to give the song the right attitude. So in grunge music artists wanted a tempo to reflect sadness and depression that they often felt, but they but they wanted to be interesting and attention grabbing. So many artist chooses tempos from around 90-120 (bpm) there was no exact range to the tempos. It was really up to the musician’s ear. However, one can tell that the artist chose the right tempo, if the emotions were portrayed foremost in the music. A good example would be to speed up or slow down a grunge song.<br />
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When that is done, ignoring the higher pitch of Cobain's voice, it is obvious that one will not get the same emphasis on themes of the music leaving the song useless to the artist. The grunge artist needed the aesthetic of angst and pain to drip from the lyrics to get his point across. <br />
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=== Dynamics ===<br />
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The dynamics of a song is the loudness and or softness at which the song is played at. A song can be played very loudly, fortissimo, or very softly, pianissimo, and it would create a different interpretation of the song. Some genres of music tend to produce quieter music while others like to blast their audience with their music. An artist can also have a range of volumes with many choosing sections of their song to be quieter to emphasize the words or the music’s complexity and others sections being softer to portray emotions. Sometimes the artist wants to create a buildup of tension in the song so he or she will use a crescendo, getting louder, or a decrescendo, getting softer to achieve it. Another part of dynamics, which was touched on in rhythm, is accenting a note or “leaning into a note” <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017. </ref> and it creates a unique sound. It is important to use dynamics because it keeps the music interesting. A lovely example that many people have probably heard before would be in Richard Strauss's Also Sprach Zarathustra, Op. 30. <br><br />
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It starts our pianissimo and then crescendos to fortissimo until it is absolutely blaring. These dynamics are meant to grab the attention of the audience and awaken anyone who has fallen asleep during the very quiet part. Dynamics are an important part of the music creation process due to the fact that a combination of these dynamics creates the genre's signature style. Hardcore rock is known to bombard their audience with sound while other genres such as country tend to have a moderate volume. <br />
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Dynamics is another really important element in grunge music because it can be used as an emphasis on particular parts of the song. The song could go from a verse of quiet reflection to a chorus of raging anger. This element is interlinked with all of the other elements to create the song the way that artist meant to portray it. Many of the grunge artists use dynamics to emphasize the themes of the song. So while many songs of the grunge genre do tend to vacillate between very loud and quiet, not every song does. It all depends on the themes and emotions of the songs. An example of the differences would be comparing the dynamics of Black Hole Sun by Soundgarden and Glycerine by Bush. They are both classified under the genre of grunge music, but they have totally different dynamics. In Black Hole Sun, the first verse starts out pretty quiet to emphasize the almost euphoric nature of words and the invisibility the singer feels. Then in the chorus, there is a large increase in volume which tries to capture the anger and pain of his invisibility. However, in Glycerine, the verse starts out pretty quiet and has a mournful tone and it crescendos ever so slightly into the chorus which is still mournful plus a bit remorseful also. The dynamics are used in grunge as an emphasis on certain feelings and emotions and though some do have a pattern of a quite verse and loud chorus some use other dynamics to get their point across. <br />
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=== Form ===<br />
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In music, the element of form is a combination of the repetition, contrast, and continuity that creates a song’s uniqueness. The form is very dependent on the other elements of music because it is the way the music is arranged. There is a mixture of musical ideas that are carefully arranged to create the meaning behind the music, which is illustrated when the chorus, speaking both lyrically and instrumentally, is repeated. To differentiate the diversions in music, letters such as A, B, C, are used. This is used determine the slight variation in musical patterns. Repetition is often utilized in form to set the theme of the song. This is seen when the chorus is repeated or the verse lyrics change and music stays the same. Repetition in music is known to create continuity and is usually done with a catchy chorus. Contrarily when there is a change or contrast in music, it is often used to note a shift in mood. The form includes a myriad of types including strophic, binary, verse/chorus song, and ternary forms. These types of forms are derived from the repetition, contrast, and continuity referred to previously. The strophic form is when the same music is repeated over and over for several verses of music. This is the most basic form, which lacks contrast and is all repetition. The message the song is trying to portray is usually very elementary. In the binary form, there are two parts. It uses contrast to highlight the question answer music phrasing between the similar phrasing contrasting section. A combination between the binary and strophic forms is the Verse/ Chorus Song form. It alternates between the storytelling verses, which contain different lyrics each verse, and the recurring chorus. <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017</ref>. It creates the feeling of familiarity and allows for many ideas and feelings to be told and then reiterated in the chorus, which is very important in grunge music. The last form being covered is the ternary from. It is a three-part form that has a repletion of the first verse, with different lyrics, which then processes to the chorus and returns back to the theme of the first verse. The form is very diverse in music and can evoke different emotions. So one can see how important it is to grunge music because of its ability to highlight the different parts of the song through repetition, contrast, and continuity. <br />
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Grunge music is primarily about emotions and social issues that plagued many of the youth during that time, so it is very important to have the music bring attention to these issues through the phrasing of the chorus and verses. Songs In the 1990’s many rock songs followed a verse-chorus form, which Brad Osborn likes to call the “verse-chorus paradigm” (Osborn, 2013, p. 23). <ref> Osborn, B. (2013). Subverting the Verse–Chorus Paradigm: Terminally Climactic Forms in Recent Rock Music. Music Theory Spectrum, 35(1), 23-47. doi:10.1525/mts.2013.35.1.23 </ref> or in less layman terms a verse-chorus pattern. Osborn then quotes John Covach who says “In a verse-chorus [form]...the focus of the song is squarely on the chorus...[T]he verses serve primarily to prepare the return of the chorus’’ (Osborn, 2013, p. 23) and this makes the song sound like it’s using the chorus as the main bringer of emotion to the song. Many grunge songs, due to the fact that they are part of the rock genre, did use this form. It allowed many of the emotions of the first verse to be realized and then an overall feeling of dissatisfaction to be released about these feelings. This can especially be seen in “Heart-Shaped Box” by Nirvana, which starts with verse 1 <div style="text-align: center;"> She eyes me like a Pisces when I am weak <br><br />
I've been locked inside your heart-shaped box for weeks <br><br />
I've been drawn into your magnetar pit trap trap <br><br />
I wish I could eat your cancer when you turn black<ref> https://play.google.com/music/preview/Ttdyvwmcelupwuxwf6fsabw2qwq?lyrics=1&utm_source=google&utm_medium=search&utm_campaign=lyrics&pcampaignid=kp-lyrics </ref> </div><br>. The music plays on the use of the verse-chorus form to highlight the emotions of feeling trapped and helpless, which are then built on during the chorus <div style="text-align: center;"> Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice <br><br />
Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice<br><br />
Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice, your advice<ref> https://play.google.com/music/preview/Ttdyvwmcelupwuxwf6fsabw2qwq?lyrics=1&utm_source=google&utm_medium=search&utm_campaign=lyrics&pcampaignid=kp-lyrics </ref> </div><br>. The chorus is emphasizing the trapped feeling the singer is feeling, which he compares to debt. He feels that he is ever in debt and trapped. The next verse, which is musically a mirror of the first verse, but the lyrics speak of the great helpless he feels. This form allows great emphasis on the chorus and it also climaxes at the end when the last chorus is repeated. However, not every grunge song contained this form. In Glycerine by Bush, the song has a much different form, but still allows the emotions of sorrow and regret be portrayed to the audience. <br />
It’s all about the emotions being reached. They did not need to use this form to release and tell all of the audience their problems. It can be reached just as well with other songs <br />
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== Musical analysis of songs ==<br />
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Taking what has been learned about harmony, rhythm, dynamics, and form and its importance to grunge music now lets look at some songs created in the "grunge" music style. Keep in mind that you're just taking a small slice of examples and that this table isn't all-encompassing. Also note that some of the harmony listed is a general overview of the keys/tonalities explored. Find out more about grunge music and its history [[Grunge in London|here]]. <br />
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{| class="wikitable" width="80%"<br />
|-<br />
! scope="row"| Grunge Music of the Late 1980's - Mid 1990's<br />
|-<br />
! Musical Elements <br />
! Heart Shaped Box <br />
! Black Hole Sun <br />
! Creep<br />
! Glycerine <br />
! Man in the Box<br />
|-<br />
! scope="row"| Artist <br />
| align="center"| Nirvana <br />
| align="center"| Soundgarden <br />
| align="center"| Radiohead<br />
| align="center"| Bush <br />
| align="center"| Alice in Chains <br />
|-<br />
! scope="row"| Rhythm<br />
| align="center"| <br />
* Time Signature: 4/4<br />
*Tempo: Moderately (108 - 120 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: 120 bpm<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: (90-93 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: Moderately (112-116 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: Moderately (107-109 bpm)<br />
|-<br />
! scope="row"| Harmony<br />
| align="center"| <br />
* Key: A minor<br />
*Major Chords: A5, F5, D5/ A, F5, D7<br />
*Chord Progressions: A5, F5, D5, A, D7<br />
| align="center"|<br />
* Key: F major<br />
*Major Chords: Gsus, G6, Bb6, F5, Em<br />
| align="center"|<br />
* Key: G major<br />
*Major Chords: G, B, C, Cm<br />
*Chord Progressions: G, B, C, Cm<br />
| align="center"|<br />
* Key: F major<br />
*Major Chords: F, C5, D5, Bb5<br />
*Chord Progressions: F, C5, D5, Bb5<br />
| align="center"|<br />
* Key: E minor <br />
* Major Chords: Em, E5, G, D, A<br />
*Chord Progressions: G5 G6 G5 G6 C E5<br />
|-<br />
! scope="row"| Dynamics <br />
| align="center"| <br />
*quite verse and roaring chorus <br />
| align="center"|<br />
*quite verse and roaring chorus <br />
| align="center"|<br />
*quite verse and roaring chorus <br />
*crescendo to chorus <br />
*decrescendo to verse <br />
| align="center"|<br />
*quite crescendo loud moderate level<br />
| align="center"|<br />
*moderate <br />
|-<br />
! scope="row"| Form <br />
| align="center"| <br />
*verse/chorus song form <br />
| align="center"|<br />
*verse/chorus song form <br />
| align="center"|<br />
*verse/chorus song form<br />
| align="center"|<br />
* verse/chorus/ bridge form <br />
| align="center"|<br />
*ABABB Form <br />
|- <br />
|}<br />
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=Section 2: Elements of Writing a Grunge Song=<br />
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So now that we have a solid understanding of what harmony, rhythm, dynamics, and form are and how they are used in grunge music, we are now ready to write a song that emphasizes the true elements of grunge music. Here we are going to go step by step and identify how to create one of these grunge songs. We will be looking back at both our background and analysis of grunge songs to help us determine the best way to make a number one seller like “Smells Like Teen Spirit” by Nirvana. If one is not familiar with a lot of grunge music, I would suggest looking at my page [[Grunge in London|Grunge in London]]. That page will give you more background and information about the grunge era and includes some of its iconic songs from artists both from America and London. The purpose of this is to create a light-hearted and funny guide that highlights the both the technical aspects of grunge music and its unique sound that was learned in the background. While also pointing out repetitive nature of the themes, its inaudible lyrics, and their creepy videos. This is all made in good fun and is not meant to diminish any of the personal problems that these singers faced. They had very serious problems that some were not able to overcome and many did use music as an outlet to express their emotions. But for our purposes, we are focusing more on the teen angst portion, which contains more insignificant problems like Wi-Fi buffering or not having the latest video game, which is trying to fit in with this current generation of teenagers in a world of technology. From this, we will produce steps to creating a chart-topping, show-stopping, musical genius of a grunge song that has the consideration of the elements of music we analyzed. <br />
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Grunge music was very much known for its aesthetic and its ability to connect with the youth of generation x or those born in the 1990’s. It covered many “distasteful” topics such as depression, suicide, and alienation, which many grunge artists experienced and fought a daily battle to overcome. Today, many still listen to grunge music and find it comforting to know that there were others out there going through the same struggles of feeling forgotten, rejected and lost. But for those who feel that grunge music does not fit in with their technology filled life, they may want to create a grunge song that covers a topic they feel creates negative feelings for them. So to get into the proper mindset to write this song, one must dig deep into the recesses of his or her feelings of teen angst to dig out some sort of darker emotions. May I suggest a YouTube video of a pug who can’t roll over, not having enough phone data, or trying to watch the finale of your favorite show but the Wi-Fi keeps buffering the video? Think of something that is basically insignificant to the rest of the world and only really matters to you. A bad selfie would qualify as a good one also but may need to be prefaced that it was posted to social media and your crush may see it. Horrifying I know! Once you have found the feelings you would like to express in your song, start thinking of how you would like to portray those emotions and what you would like the overall sound to be. These feelings will be the base of your song and all of your further decisions will be based on the mood created by these emotions. I have personally dug out from the recesses of my long-buried teen nerdy angst the feeling of anxiety and sorrow when my code wouldn’t compile. <br><br />
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Your next step is choosing how you would like to portray that to your listeners. I would do this by making it sound like the world will end if the code doesn’t work and that all will be lost. Don’t be afraid to be over dramatic. That’s what attracts people to the music is the drama and emotion. Right? Now that that has been cleared up, the actual song can now be written. One must start with the most crucial part first, the harmony. When done right, the harmony helps to create the emotion of the music. In grunge, musicians experimented with a variety of different techniques and ideas. They wanted to step out of the norm of alternative music. So, they experimented the chords of the music and found that when they distort the note a great deal it produces a much richer sound that reaches higher. Therefore, much of grunge music is written in 3 note chords which stem from a key signature. So, the first part of creating your harmony is deciding what key you would like your song, which you could do by picking you favorite note. I will be arbitrarily picking the key of F major. If you have a favorite key pick that one; it will make it more personal to you. Next, for choosing your chord progressions pick whatever sounds good together. Also, make sure to have at least one modulation of a note in there. It is a grunge classic and a must if you want your song to be grunge. This will create the dissonance you are looking for and will add to any emotion ranging from hatred to anxiety. Wow look at that, after playing with chords for a few hours, you will be able to get some chord progressions that you like. At this stage, you will also have to decide what instruments you would like to use. You honestly can’t go wrong with the grunge classic of guitar, bass guitar and drum set. If you are feeling fancy you could add another instrument to complement your theme and mood.<br><br />
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After your harmony is all figured out, which will probably take a while, you will need to figure out your rhythm. The rhythm as stated before is really based on the emotion of the song so you’re going to need to play around with the speeds until you feel it has reached the right mood to represent the emotions you are trying to portray. Many grunge pieces have a range from 90-120 (bpm), but feel free to choose one that best suits the song. Dynamics is another important part of the piece do to that fact it determines what sections are loud and what sections are softer. Many times gunge utilized dynamics to create a call and response type of sound in the song. It also had the power to create tension in a song so it may work for your song if that is what you are striving for. One may also put accents on different parts of the song where you want to highlight a lyrics. The last thing you’ll need is the form of the song or how it the song is constructed both lyrically and musically. It is all about the repetition of the song of the chorus and its verses. The classic rock and grunge form of the 1990s was the verse-chorus form that focused its attention to the chorus. This is a really nice form for if you are highlighting your chorus. Though all grunge songs did not use this form, they also achieved their aesthetic by used other forms. So feel free to look into other forms that may make your song more grunge. The last requirement to writing a grunge song is lyrics! All grunge songs contained lyrics that expressed their emotions, so make your lyrics emotional and full of angst. As a bonus, have your singer sing very muffled and with almost unintelligible manner. It seemed really popular with bands such as Nirvana and Radiohead. You can't really hear the lyrics but you still felt a deep emotional connection to them. Any of these steps can be done in any order, so maybe start with the harmony or lyrics and form. It's really up to you. Much of the genre was experimentation held together by angst and great chords. And there you have it! You have created the next “Smells Like Teen Spirit”. Now go out and share your amazing song with the world, brace the world for its awesomeness! <br />
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=Conclusion=<br />
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In this project, I did an analysis of music theory from the point of view of grunge music. Music, in general, is so incredibly versatile with its ability to change one element to change the whole song and its intentions. All of the elements of music are important to delivering the music’s message. So I decided to look at grunge music though four of the elements of music to give an in-depth analysis on how these elements create the grunge sound. I also looked for ways the elements of music tied the whole genre together and gave it its particular sound. Grunge music was a unique genre that popped up as a sub-genera of alternative music, so I wanted to see what made it stand out from the rest. I determined that the genre itself was notable for its emotional connection to the music. The artists took advantage of rhythm, form, dynamics, and harmony to fit their feelings of depression, angst, and anger. Most notable they changed the way chords were heard by distorting the music’s sounds. It created a fuller sound and changed the chord progressions. They were very experimental and passionate about their music and led me to a “pattern” in their music, which was that it had to be full of emotion and it had to have distortion of chords that allowed them to modulate certain notes. I was then able to play off of this pattern to create a satirized guide to creating grunge music. In the future, I would like to see more research done on patterns in grunge music because this music created a generation and still inspires many today. <br />
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=External Links=<br />
[[Grunge in London| Grunge in London]]<br />
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=References=<br />
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[[Category:Music Projects]]<br />
[[Category:2017]]<br />
<br><br></div>Kfconroyhttps://londonhuawiki.wpi.edu/index.php?title=User:Kfconroy&diff=18735User:Kfconroy2017-06-21T23:01:16Z<p>Kfconroy: </p>
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<div>=Katharine Conroy=<br />
[[File: kat.jpg|x350px|right|frameless|thumb|Katharine Conroy]]<br><br />
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=Overview=<br />
The paragraph should give a three to five sentence abstract about your entire London HUA experience including 1) a summary of the aims of your project, 2) your prior experience with humanities and arts courses and disciplines, and 3) your major takeaways from the experience. <br />
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=Milestone 1 Music Theory behind Grunge Music=<br />
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'''Music Theory behind Grunge Music'''<br><br />
'''Objective:''' <br />
Analysis of the the key musical elements to Grunge music. <br />
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This project is meant to introduce those who enjoy music to the music theory or backbone of music that makes it sounds a certain way or gives it a certain emotion. Music is defined by its elements, which allows a certain genre of music sounds different than another. So, I distinguished four important elements of music and did an in-depth analysis of each with a comparison of grunge to popular rock music of that time. From that analysis, I then produced a guide to producing my own gunge song with examples of what I would do.<br />
In my research, I found that grunge was more covered as a social and ethical topic with little being covered about the music itself. It was difficult to find much on the elements of music in respect to the grunge genre itself, but I did find some info on it under the umbrella of alternative. I discovered that its sound and style was primarily based off of the music’s harmony with the rhythm, form, and dynamics still very important to its overall sound. But, there was no real pattern to the music. Together in had a unique sound due to the harmonic practices, but what really kept the genre a genre was the music’s attitude and the taboo topics it tried to address. Each artist has its own unique style and sound but they all fell into the same genre. This project needs more research to fully grasp the musical differences between grunge music and the popular rock of the time. <br />
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[[Music Theory behind Grunge Music|Read More]] <br />
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=Milestone 2 Theater in London=<br />
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'''Theater in London'''<br> <br />
'''Objective:'''<br />
Looking at the behind the scenes work that goes into a theater show. <br><br><br />
Have you ever wondered about the behind the scene magic that goes into creating a play or musical? There is a tremendous amount of work, blood, sweat, and tears that go into producing a show for the stage. It takes a village to put on a show of any magnitude. So for the Theater in London milestone, we focused on the behind the scene departments that make the show a success. The main departments that we felt were very important were scenic, props, lighting, hair and makeup, sound, costumes, and poster and promotion. Without any of these, the show would not be able to go on due to the fact that all of them are crucial to the visual effects of the show. We each specialized in specific departments to learn the history, techniques and uses in a show. After we understood the nuances of these departments, we then watched “The Play that Goes Wrong” at the Duchess Theater here in London to see how they utilized each department. From that, we took inspiration for our own interpretation of the play. We utilized what we learned and incorporated it into our designs for scenic, props, lighting, hair and makeup, sound, costumes, and poster and promotion. We learned a lot about our respective departments and there was a copious amount of information for many of the departments. However, some like props and poster and promotion were quite as well documented but we found more current day information on them. This milestone is a culmination of our passions for the theater. <br />
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[[Theater in London |Read More]] <br />
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=Milestone 3 Grunge Music in London=<br />
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'''Grunge Music in London'''<br><br />
'''Objective:''' A comparison of London and American grunge music that depicts the key differences and similarities.<br />
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This project is meant to be used as an introduction to the misunderstood genre of grunge, which dominated the music scene during the late 1980’s and early 1990’s. To help those unfamiliar with grunge music, I explored the genera and covered it in its entirety. This started with its birth in Seattle, Washington to its impact on society. In my research, I found that grunge music gained almost a cult following beginning in Seattle, Washington that it spread throughout the United States to many other places such as London, England. However, bands that appeared out of the grunge movement from London did not make it as big in London as they did in the United States. United States grunge bands became more popular than their British counterparts. In my research, I did an analysis of popular grunge songs from both the United States and the London area to create a short deconstructed “mixtape” with the purpose of introducing grunge music to a person who has never listened to the music before. I then described what makes these songs grunge and the reason I choose them. I concluded that grunge music was more of an American genera that spread like wildfire throughout the world, but it was influential to the bands of London also. This milestone is my music capstone and it is an analysis of an entire genre of music that took place in both the United States and London. <br />
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[[Grunge in London|Read More]] <br />
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=Activity Journal=<br />
The activity journal represents an ongoing log of reflections gained through each and every project activity on the calendar. <br />
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==Activity #1 Westminster Abbey and The Tower of London==<br />
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Today was the first official day of our time here in London! Still, a bit jet lagged, we started our time here at one of London’s most famous churches, [[Westminster Abbey| Westminster Abbey]] or the Collegiate Church of St. Peter at Westminster. Many know this location as the place where many royals have celebrations such as coronations and weddings. In my most recent memory, I remember all of the excitement when Prince William and Kate Middleton got married at that exact spot. So as I roamed the great size of the church, I looked at all of the magnificent details on all of the tombs, craving, and statuary. The stained glass was also breathtaking and detailed depicting many monarchs and religious figures. However, my favorite part of the Westminster Abbey was the [[Tomb of the Unknown Warrior| Tomb of the Unknown Warrior]]. It showed that no matter what class you were you would still be judged just the same under the eyes of God. <br />
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After the trip to Westminster Abbey, we went to see the [[Tower of London| Tower of London]]. It housed many precious items such as the Royal [[Crown Jewels| Crown Jewels]], the armory, and torture devices also known as instruments of persuasion. As I walked through the castle I realized how important their history and tradition was. The monarchy is very devout to their traditions with many dating back hundreds of years. An extension of this would be the Yeomen or Beefeaters, who can be seen safeguarding the crown jewels. Originally my original impression of the Beefeaters was that they were people who were dressed in traditional garb to simulate the past uniform style, but when I asked a lady from information, she informed me that they were highly trained ex-military. This was very surprising and added greatly to my experience. After the first day of actives in London, I was very exhausted but also still very excited to see what was in store for me in the upcoming weeks.<br />
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==Activity #2 St. Paul's Cathedral==<br />
Today we went to see the [[St. Paul's Cathedral | St. Paul's Cathedral ]], which is part of the Anglican faith. This cathedral was gorgeous with its murals, mosaics and baroque style. the baroque style was very unusual for an Anglican Church due to the fact that is was used frequently by the Roman Catholic church, which it split with when the pope denied King Henry the VIII a marriage annulment. <br />
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When I first walked in, I saw the huge baptismal font that is used during the christening of those seeking the faith. There were also wonderful icons of Jesus and Madonna and Child that I have only been able to see in textbooks or online. The Nave was filled with statues in memory of famous was generals.Then, once you are done gawking at the sight in front, you to gaze up at the ceiling and you realize the magnitude of the cathedral. The journey up to the [[St. Paul's Cathedral#Whispering Gallery|Whispering Gallery]] was very tedious up to those stairs but it was really cool to look down onto the ground below. However, I am terrified of heights so let’s just say the ceiling was very pretty from that height! Overall, I thought that it was some of the most impressive artwork I have ever seen. <br />
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==Activity #3 British Museum==<br />
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The journey we took today brought us to one of the first places we met our advisor during our first day out and about; the [[British Museum |British Museum]]. When walking past the museum, you can see its Greek architecture filled with columns and arches. The whole museum is decorated with ornate crown moldings and tray ceilings, which add to the openness of the rooms. However, unlike most of the sights seen so far, most of the exhibits are artifacts instead of a places to explore. It very much felt like the MET with all of the exhibits emphasizing different times in history and all that they had to offer. <br />
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My favorite exhibit of the museum was the one featuring the [[British Museum#Mesopotamia|Mesopotamia]] region. This exhibit brought me back to sixth grade when I first learned about this region. I saw many tablets with writing in cuneiform, which I remember learning as a kid. It was really cool to see new and different artifacts there. I even got to see the Rosetta Stone, which I remember being a huge deal because it was used to decode other ancient languages. There were also some elements of the museum that kind of had something to do with my theatre milestone, due to the fact that there were ancient artifacts such as masques. This showed the early roots of both theater, where masks were often used to depict characters. Overall I really enjoyed the museum because it brought me back to a wonderful time of my life.<br />
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==Activity #4 Natural History Museum==<br />
I was very excited about going to the [[Natural History Museum| Natural History Museum]]! I absolutely adore going to these types of museums due to the fact that they contain a myriad of exhibits with different exhibitions. The exterior and interior of the building is filled with a mix of roman and gothic architecture, which gave the area a feeling of openness and spaciousness. <br />
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When walking in, I immediately thought about my favorite museum The American Museum of Natural History in New York City. I sent a lot of my childhood and teen life exploring the place I called home. There was always something new and cool to see and it had my favorite prehistoric friends the dinosaurs too. So on arrival, I expedited my way to the dinosaurs and more specifically the [[Natural History Museum#Prehistoric Sea Dinosaurs|prehistoric sea dinosaurs]]. They had a huge collection of [[Natural History Museum #Pliosaurs (Rhomaleosaurus cramptoni)|pliosaurs]] fossils and some ichthyosaurus too. It honestly reminded me of the movie Land Before Time: Journey to Big Water. They also had a animatronic T-Rex which I found really amazing! But in comparison to the American Museum of Natural History, I feel it does not have as many really big dinosaurs (though I may just be biased). <br />
Pertaining to my project, I did see a picture of the Nirvana cover Nevermind, which shows the impact that grunge music had on London culture. Overall, found the museum very different then I originally thought. It focused mainly on a lot of different animals, reptiles, and geological topics, which made this a unique experience.<br />
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==Activity #4 National Gallery and Lunchtime concert==<br />
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Today, I saw [[The National Gallery| The National Gallery]] and it was really disappointing due to the fact that my favorite artist, Monet and all of the Impressionists, were closed today. I really enjoy the impressionists because of the way they see the world. In their works of art, they provide nature and people in their everyday lives. They are not staged and contained many colors and movements. Another artist I was looking forward to was [[The National Gallery# Johannes Vermeer| Johannes Vermeer]], but they only had one of the three paintings available. I remember reading a book in second grade called Chasing Vermeer, so I was really interested in seeing a few of his paintings, but the one that was there was very intricately painted and contained a lot of symbolism. <br />
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We also saw a concert at the [[St Martin-in-the-Feilds|St Martins of the Feilds]], which was really awesome. The concert was played by Nikolay Ponomarev who played the piano. I personally really enjoy listening to music and differentiating the styles of composers, so I was excited by the list of songs on the program. The Transcendental Etude No. 10 in F Minor by Franz Liszt had a very heavy and somber sound to it while as Etude No 10, Op25 in B minor by Chopin has more of a light and airy texture to it. It reminded me of sitting in my music history class in high school and the analysis of these songs to understand where the composer was trying to communicate. <br />
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==Activity #5 Lunchtime concert==<br />
We went to see another concert at [[St Martin-in-the-Feilds|St Martins of the Feilds]], which had a duet between both a saxophonist and pianist. At first glance that combination of instruments sounds pretty interesting, but the way the pieces were written they complemented each other quite well. The pianist was a young woman named Christine Zerafa and young man on the sax was Philip Attard. They were both highly accomplished players representing the Royal Over-Seas League. I really enjoyed Saint Saëns's Sonata Op 166 it was very relaxing and worked very well together but i really disliked Edison Denisov's Sonata for saxophone and piano because they attempted to mimic each other's notes and it sounded quite disjointed. Overall there were some parts i enjoyed and some I did not.<br />
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==Activity #6 Tate Britain==<br />
After a nice and relaxing day of working on my milestones at the British Library, I jumped back into the museum journey. Unfortunately, I feel the strong need to keep continuing on with the milestones since I am progressing very well. So we went to the [[Tate Britain| Tate Britain]] and the time period paintings from the 1500’s to the late 1800s were a lot of portraits of military, literary, and royal figures. But after that time period, many pictures contained that of which involved social movements. There was one piece in particular that covered the grunge movement which was a confusing flow diagram called “The History of the World” by Jeremy Deller that distinguishes one's problems covered by bass bands and an acid house. It highlighted the social and political issues that were dealt with during the Grunge era. I also got to see the newest commission at the museum called [[Tate Britain # Forms in Space…by Light (in Time)| Forms in Space…by Light (in Time)]] by [[Tate Britain # Cerith Wyn Evans| Cerith Wyn Evans]]. It was an interesting piece that utilized light as that medium and space as a canvas. Overall I am pretty museum out and really would not like to look at another aristocrat portrait for a while.<br />
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After going to the Tate Britain, a group of us decided to go see David Tennant in ''Don Juan in SoHo''. It was in a smaller theater that has a classic proscenium theater, which created an intimate feeling even with standing room "seats". The show was a modern take on the classic Don Juan and it was definitely very modern. During intermission, we took a look at the projection systems and lighting and determined that they used S4's with less dispersion do to the fact it was such a small stage. Also we determined that the amazing projection was done by three offstage projectors and an unknown number of projectors onstage. It was amazing to be able to reason through all of design and technical features. <br />
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==Activity #7 Victoria and Albert Museum==<br />
Today we took a trip to the beautiful South Kensington area to visit the [[Victoria and Albert Museum | Victoria and Albert Museum]]. My first impression of the building was that it is massive and very ornately decorated. In the lobby was an amazing blown glass structure that spanned many feet long. I really enjoyed the ornate [[Victoria and Albert Museum # Islamic Middle East| Islamic Middle Eastern]] artwork that ranged from tiles to silk and pottery. The calligraphy was so artfully done and was seen as a work of art due to its intricateness. I also saw an exhibit on theater and performance, which covered almost all of my milestone. I saw amazing diagrams of different set designs, costumes, books, and drawings that all pertain to the behind the scenes nature of my milestone. I only really concentrated on the parts of the museum that pertained to my project due to the fact that the museum is so large. <br />
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==Activity #8 Tate Modern==<br />
Today was a visit just over the bridge at the [[Tate Modern| Tate Modern]]. Unlike most of the other museums, the Tate modern had a very modern and architectural feel to it. It was not at all ornate and had many of the structural beams and hanging lights showing. Personally, I have a limited perspective on modern art. I usually cannot see the meaning in blank canvas or a random piece of wood that I can find in the woods. I have been known to make jeers at modern are also. This has been seen recently when I was doing a modern interpretation of an ice cream cone and correlating it to the coldness of society. However, surprisingly I did find some of the art absolutely breathtaking and full of meaning. I also feel that the backstory behind much of the artwork gives it more meaning. Some of the exhibits I did enjoy were [[Tate Modern #Abstraction and Society| Abstraction and Society]] and optical illusions. They Abstraction and Society display depicted social issues and problems through a different view that demands you full attention. All of those works relate to the grunge movement and how they decoded the problems with society in their lyrics. However even after going to many great parts of the museum I still felt that some pieces could be done by myself, one of little to no artistic talent. Overall, I feel that these museums are lovely and a great cultural experience, but I really need more time to research and write my milestones. I find it very difficult to go to the museum for half the day, write the journal and articles, and then go to the library to start working on the milestone at around 1 or 2 PM till 6 PM, eat dinner and work on it some more. I need more time to add more detail to my project. <br />
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==Activity #9 Museum of London==<br />
The [[Museum of London| Museum of London]] was much smaller than I anticipated. It had the history of London from the prehistoric times to present day. It did have a tiny section that talked about Shakespeare and other playwrights from London but did not talk about any of the technical aspects of theater. Otherwise, there was nothing else that covered my milestones. I did enjoy the part of the museum that covered Roman London because I enjoyed the versatility of the [[Museum of London#Amphitheater| amphitheater]]. It reminded me of the movie Gladiator with Russel Crow. I am ready for the weekend to continue working on my milestones. <br />
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==Activity #10 Imperial War Museum==<br />
Today we went to the [[Imperial War Museum| Imperial War Museum]], which was right across the Thames River. The museum was surrounded by a green a luscious park with many flowers and plants. In the front of the museum, is a walkway boarded by a lavender that leads up to two huge cannons. The design of the museum was also cool with large columns. The entry of the museum was an amazing sight with all of the different planes and such suspended in the air. I made me think of a museum near me called the Cradle of Aviation because of they also had suspended planes but they were about air travel. <br />
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While walking through the museum, I really enjoyed how they had each level dedicated to a different topic. A number of artifacts they had was amazing. I was really interested in WWII and loved how it was from the British point of view because I remember learning it from an American point of view. It also went chronologically with it ending in the war on terrorism and they had a piece of mangled metal from the Twin Towers, which was very sad because of the impact it had on the United States. I also found the exhibit about the Holocaust extremely haunting and sad. However, it was one of the most complete exhibits I have seen on the Holocaust. On the fifth floor (which was really really high), there was an exhibit on the bravery of those fighting in the British Army. It talked about many brave men and women such as [[Imperial War Museum#Joan Daphne Mary Pearson| Joan Daphne Mary Pearson]] and [[Imperial War Museum#Kamal Ram| Kamal Ram]], who risked their lives for the betterment of their country. <br />
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==Activity #11 Museum of London Docklands==<br />
Today we all woke up with the horrific news of the bombing in the Manchester Arena and it is so unnerving to know that no matter where you are in the world there will always be bad people in this world. The train ride was very quiet and somber. <br />
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The [[Museum of London Docklands| Museum of London Docklands]] is located a pretty far distance away and is like 4 too many miles to walk, but I really liked how it was on the “Isle of Dogs”. It’s such an interesting name! Anyways, like the [[Museum of London| Museum of London]], I found this museum catered to a younger crowd, like elementary school students. So a lot of the information was at an elementary level. There were many great parts of the museum that talked about its history, slavery and its rectification, and many maritime things. I really like how they incorporated the [[Canary Warf| Canary Warf]] into the museum’s history. The Canary Warf is so pretty and you can tell it would be an awesome to be on a Friday night.<br />
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==Activity #12 Horniman Museum==<br />
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Traveling even further than we did yesterday we are making our way to the [[Horniman Museum| Horniman Museum]]. It is way too far to walk, but it was only a train and bus ride away. A lot of these places required a decent amount of travel and I am pretty low on the oyster card, so I guess I am going to have to top up soon. However, the museum was in this suburban area and it was really nice to be out of the city. I grew up in suburbia so it was nice to not be so crowded with little store fronts and homes with back yards. Side note, I really like British expressions like top up and cheerio they are just really interesting terms. Now I digress to the actual museum experience.<br />
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So the museum itself is very pretty and is surrounded by luscious fields and [[Horniman Museum#The Gardens| Gardens]]. There were two main exhibits in the museum with one being about evolution and domestication. That part contained a lot of taxidermy animals, birds, and lizards, which was kind of sad because I saw some of my favorite animals stuffed. The next part was the collection of musical instruments. It was pretty cool to see all of the instruments from many different time periods. I also learned and saw instruments from the [[Music Exhibit at the Horniman Musuem#Seasonal Round: Haslemere Festival | Seasonal Round: Haslemere Festival]]. My favorite part was the Garden because they were so peaceful. <br />
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==Activity #13 Hampton Court Palace==<br />
To begin with I will be keeping this journal relatively shot due to time constraints of travel and other her. Today we visited the [[Hampton Court Palace| Hampton Court Palace]] in Zone 6 or better known as a place far far away. It was a really amazing place with a lot of history. I really liked how each in the entrance of the palace there was the coat of arms. I really didn’t get to go to many places but I did make my way to the playground, which was amazing. So my maturity level is at about the age of 2 and a half so I therefore had to go on it. It was awesome!<br />
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==Activity #14 The Wallace Collection==<br />
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Today, after a long and relaxing bank holiday weekend is a day that begins the milestone grind. I really enjoyed this weekend off from work to just explore and have fun. This week is really crunch time with only 3 weeks left and a lot of work left. At [[The Wallace Collection]] there were many paintings and such from the 18th and 19th centuries. It was a lot of amazing collection of artwork, statuary, and armory. I in particular really enjoyed the armory the most because I find the ancient weapons very fascinating. They had medieval swords with faded engravings and ornamental swords meant for display. The collection also housed a large amount of horse armor, which included a gothic piece from the 15th century. There was a lovely exhibit in the basement that allowed visitors to try on a chainmail headpiece and chest piece. They altogether weighed approximately 45 pounds and took a tremendous amount of effort to lift. It was really amazing to think that this place was once a home. <br />
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==Activity # Revisit a Relevant Site ==<br />
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So today was the day that I was supposed to revisit a relevant site, however none of the sights really had to do much to do with my niche topic of Grunge Music. So I decided to continue reading articles and writing my milestones to make more progress. I chose a topic that was not really ever explored in the museums that we visited because it also only happened in the last 30 years, which is why most of my research has been competed using online resources. I am making good progress and am working slowly but surely. <br />
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==Activity #15 London Science Museum ==<br />
The next adventure was to [[London Science Museum | London Science Museum]], which was in one of my favorite parts of London, Kensington. I really enjoyed this place due to the fact that it contained a lot of engineering related items and exhibits. Don’t get me wrong are great and all, however, it was nice to have the breath of fresh air while looking at engineering related exhibits. The night prior a group of us decided to go to the late night at the science museum where they were featuring robots or all shapes and sizes. It was amazing to see the huge array of robots taking over and a number of people interested in the event. They had so many cool exhibitions and I even got to create a robot head with LED lights for eyes. The museum itself contains so many different topics ranging from space to clocks to planes and much more. I found the [[London Science Museum#Wounded, Conflict, Casualties, and Care| Wounded, Conflict, Casualties, and Care]] exhibit very humbling and fascinating they talked about the treatment and how they would get help when injured. It makes me thankful that I am not in that potions and thank my lucky stars for the people who sacrificed their lives for our sakes. <br />
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==Activity #16 Romeo and Juliet==<br />
We went to see Romeo and Juliet at the Globe Theater. The ambiance was great except for the fact that it was cold and down pouring for the first half of the show. I mean like full on drenching type of rain. We were all cold and wet, but it was awesome to be right in front of the stage where the orchestra would be. I felt like I was at a rock concert awaiting a mosh pit. Anyway, when we read the description of the play we knew that this would be a very modern take on the show and that was only reaffirmed when we saw some of the actors getting ready with modern clothing and white face makeup. The show started out with actors dressed in very modern clothing dancing and speaking their lines to rap and hip-hop music, which was very interesting. They wore makeup that makes them look like clowns, which was, quite frankly, pretty scary. They also did some gender bending with Mercutio’s character. From a technical point of view, the lighting was very reliant on the on stage LEDS and S4’s. There were many lights being used as spots attached to the seating balconies and the sound was also attached there. The props were very simple and added to the idea of the play. I feel they did take the show to a very dark place, which is where it should be due to the fact that it is a tragedy. I really liked how the actors were not afraid to break character on stage and that could be seen when Mercutio tossed her beating stick and it flew off stage in the back through an open window. She asked if she could get it back and it didn’t come back so she went on and when it came back on stage she incorporated it into the scene. My one critique was that the actress that was playing Juliet was way too old (not being ageist at all), even with her makeup on you could tell that she was much older that the actor playing Romeo. She was supposed to be 14 in the show but you could tell she was around 40 and he was 25 or so. But even so, the show seemed to be one long drug induced trip. It was creepy and weird, but I really enjoyed it. <br><br />
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==Activity #17 Stonehedge==<br />
Our farthest trip as a group definitely has to do be our trip to Stonehenge. So Stonehenge is in the middle of nowhere right next to some pastoral fields with large burial mounds. Honestly, if you did not know that they were there you would definitely drive right past them without a second thought. From the road the stones seem pretty small and insignificant, but up close they were pretty large. It was interesting to learn that this rock formation was created thousands of years ago. It is thought to have been sacred grounds where religious practices occurred. The extremely heavy stones were thought to be brought from over 200 miles away without the wheel having been created yet. It is definitely was an amazing feat that is many thousands of years before its time. We then went to Bath, which is this amazing little town that has a hot spring. It was cute and quaint with a beautiful abbey. After Bath, we visited the location where they filmed some of Harry Potter. It was really cool and a very small village that had a small population. Overall it was an amazing trip with an amazing tour guide. <br />
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==Activity #18 Windsor Castle==<br />
[[Windsor Castle| Windsor Castle]] was pretty cool. It was composed of many different parts with it stretching more than 20 tennis courts long. When we first stepped in they did a full body and bag scan, it was like going through airport security. The security makes sense due to the fact that we are visiting the residence of the Queen. We visited the drawing rooms, dollhouse, and chapel, which were all meticulously done. They were all ornately decorated with eloquently carved crown molding, gold, crystal, and paintings. I keep a count of how many dogs I could spot in the picture and found 7. Overall, most of the residence was blocked off and it took a little less than an hour to complete. I did not think it was worth it because it took us two hours to get there and we only spent an hour there. Also, it cost us almost 20 pounds to do the trip. So if there was more to see and it cost less then I would feel that it would be worth the journey and money. <br />
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===My Complete Contributions===<br />
The journal section should end with the following link to your complete contributions (new articles, edited articles, added media, etc.)<br />
====[[Special:Contributions/Kfconroy|All of My Created Content and Edits]]====<br />
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[[Category:Profiles]]<br />
[[Category:2017]]<br />
[[Category:Advisor:Manzo]]</div>Kfconroyhttps://londonhuawiki.wpi.edu/index.php?title=Music_Theory_behind_Grunge_Music&diff=18734Music Theory behind Grunge Music2017-06-21T22:59:48Z<p>Kfconroy: </p>
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by [[User:Kfconroy|Katharine Conory]]<br><br />
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=Abstract=<br />
The objective of this milestone is to take all that I have learned from my Grunge in London Capstone to analysis the music under the lens of music theory. I hope to be able to see what grunge music has to offer by way of harmony, rhythm, dynamics, and form, which are some of the elements of all music. Grunge music was a very special genre in which had a pretty distinct sound and attitude, but no real form to it. So in order to determine if there is a real “formula” to grunge music, a genre of rock, I am distinguishing from the alternative music of that time that did not count under the umbrella of grunge. For my deliverable, I am taking all that I learned from this analysis of grunge music from a music theory background to create my own guide to what a grunge song would contain in the way of harmony, rhythm, dynamics and form with examples of what I would do. <br> <br><br />
For this project, I am drawing back on my past experience with music theory and my violin background. This is slightly challenging due to the fact that harmony for a violin is much simpler for a violin than a guitar. In high school, I took several music classes and was in both chorus and band. I hope to gain more knowledge about music theory and help others understand music as well. <br />
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=Introduction=<br />
This project is meant to introduce those who enjoy music to the music theory or backbone of music that makes it sounds a certain way or gives it a certain emotion. Music is defined by its elements, which allows a certain genre of music sounds different than another. So, I distinguished four important elements of music and did an in-depth analysis of each with a comparison of grunge to popular rock music of that time. From that analysis, I then produced a guide to producing my own gunge song with examples of what I would do. <br> <br><br />
In my research, I found that grunge was more covered as a social and ethical topic with little being covered about the music itself. It was difficult to find much on the elements of music in respect to the grunge genre itself, but I did find some info on it under the umbrella of alternative. I discovered that its sound and style was primarily based off of the music’s harmony with the rhythm, form, and dynamics still very important to its overall sound. But, there was no real pattern to the music. Together in had a unique sound due to the harmonic practices, but what really kept the genre a genre was the music’s attitude and the taboo topics it tried to address. Each artist has its own unique style and sound but they all fell into the same genre. This project needs more research to fully grasp the musical differences between grunge music and the popular rock of the time. <br />
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=Section 1: Background=<br />
Grunge was a style choice, a cultural movement and most importantly a music style that appeared in the late 1980’s to the early 1990’s, which songs had focused on topics of a taboo nature such as alienation, depression, and suicide. The movement focused on using their music to enlighten those around them about the problems that they were suffering from, which resonated very well with the youth who were also facing many of those issues. It was very popular and topped many of the more well-known artists. It had a new an appealing sound that differed from the rock and pop music of day. Grunge music is considered to be a sub-genre of rock with heavy overlap with other rock subgenres such as alternative, metal, and punk <ref> STRONG, C. (2016). GRUNGE: music and memory. S.l.: ROUTLEDGE. </ref>.The music contained a dirty and raw sound guitar sound, which gave the genre its name. This music has a significant effect on the culture of the Seattle area where is was started, which is no surprise due to the fact that music has always been a major component of cultural changes in society. There have been many scholarly articles citing its importance and during this time there was a major shift in attitudes towards the world and the people who lived in it, which emphasized the feelings correlated to alienation, depression, and suicide. However one may ask how music, subtracting the lyrics, could evoke such feelings, which in fact brings me to the focus of this capstone; the music theory behind grunge music that gave it its unique sound. <br><br> <br />
The music theory behind grunge music will explain how this music became so unique, but this calls into question of the definition music. In the most literal idea, one can see music as “vibrations in the air that are observed by us and then interpreted as sounds. These sounds play out over time, meaning that music is, therefore, sound over time” <ref> Samama, L., & Clements, D. (2016). What is music? In The Meaning of Music (pp. 27-31). Amsterdam University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/j.ctt1b9x1ts.5</ref>. However, that is way too literal and would infer that all sounds are music like all paintings are works of art. Music is way more sophisticated and can be seen as “multi-dimensional (and a) multimedia phenomenon’’ <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017.</ref>. Therefore music is grouped into seven different elements, which are rhythm, dynamics, melody, harmony, tone color, texture, and form to help identify the key differences between grunge music and say rap. These elements added to the sound and identity of the genre, so much so it stood out from the rest of the alternative genre, which grunge was a subgenre of, during that era. Below I have chosen 4 elements I feel distinguished the grunge genre of from that which was popular during the 1990’s and created the special sound to the music that allowed the artists to express their emotions. <br><br> <br />
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==Musical Elements ==<br />
===Harmony === <br />
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Harmony is very important to the creation of music, due to the fact it the way notes are played in relation to each other. This is a very technical and complex element of music that can be fairly hard to understand, so it is important to start at the beginning. There are seven notes in all of the music, not including all of the flats and sharps, A, B, C, D, E, F, G and these are the building blocks on which songs can then be built. The full list of notes which contain all the flats (b) and sharps (#) starting at A is '''A''', A#/Bb, '''B''', C, '''C#/Db''', '''D''', D#/Eb, '''E''', F, '''F#/Gb''', G, '''G#/Ab''', '''A''' and follows a pattern of 2212221, which gives a scale of A major. The pattern is followed by the bolded letters produces A, B, C#, D, E, F#, G#, and A as the A Major Scale. From the scale, one can then produce all of the chords that can be made from that key. A chord is several notes played together to that are separated by thirds, which produce notes that complement each other very well. The chords for an A major key would contain AC#E I (major), BDF# ii (minor), C#EG# iii (minor), DF#A IV (major), EG#B V (major), F#AC# vi (minor), G#BD vii0 (diminished). To form these 3 note chords, one takes the scale and starts at the first note in the scale, which in our case is A. Then, skip the next note, B, and chose C# to do this again for the third and last note of the chord. Your final chord will be AC#E, which is a major chord and they you do it for B, C#, etc. for the rest of the chords until you come back to your original note A. The chords are in a pattern of major, minor, minor, major, major, minor, and diminished, which are shown by the capitalized Roman numerals rather than the lower case ones and the 0 at the end means diminished. Another name this goes by is diatonic harmony and all this is the way notes relate with each other in a certain key. All of this can be replicated for all of the other keys in music to get chords. These chords then can be played in succession after one another and produce a chord progression. Some commonly used chord progressions in the key of A are ADE (I – IV- V) and BEA (ii-V-I). These chords and chord progression are what creates the harmony in the song and they are often used in term of how harsh they sound. The harshness of chords is quantified into dissonance and consonance. Dissonance is a very harsh sounding harmony and its chords known for creating tension in a piece. Consonance is a smooth sounding harmony that creates consonant chords, which resolves tension created by the dissonant chords. Chords are very important to music because it truly creates the mood of the music. More dissonant sounding music sounds almost unstable, eerie and sad. A really good example is Mozart’s Quartetto K. 465 "delle dissonanze". One can hear the very dissonant beginning and then throughout the rest of the piece, one can hear how dissonance is resolved by consonance (The Elements Of Music, 2017, p. 3). <htmltag tagname="iframe" id= width="200" height="150" src="https://www.youtube.com/embed/08uY0-ehL-w" frameborder="0" allowfullscreen></htmltag> <br />
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In grunge music, harmony played a large part in creating its aesthetic and sound. This music was very powerful and was known to use “power chords” (McDonald, 2000, p.355) as a “set of harmonic practices that rock musicians, particularly those who participate in the domain of guitar-oriented 'alternative' rock, have been using” (McDonald, 2000, p.355) <ref> McDonald, C. (2000). Exploring modal subversions in alternative music. Popular Music, 19(3), 355-363. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/853641 </ref>. These musicians were trying to break the mold of rock and alternative music so they tried new practices such as distorting the guitar’s sounds and choosing unique chord combinations. An example of this was the change of the power chords, which are normally fifths or fourths (McDonald, 2000, p.356). However, do to the heavy guitar distortion, created by overloading the signal into the amplifier, it created a more complex sound that allowed more sound to come from the notes played. This distortion allowed chords done in thirds to have a richer and fuller sounds and as a byproduct created a very dissonant sound (Biamonte, 2010, p. 97). Another in interesting part to grunge’s harmony was its use of “third or cross relations” (McDonald, 2000, p.357) that allows songs that were written in the key of A major and as we determined before C# would be the C note used, however in grunge music the C would incongruently change a minor third to C5 or Cb. This is what author Chris McDonald calls “modal subversion” (McDonald, 2000, p.357). It used constantly in these songs and an example of it would be in “Smells like Teen Spirit” by Nirvana. In this song the key is in F minor and in that scale A is natural but in “Smells like Teen Spirit” the A modulates to Ab (Osborn, 2013, 31) <ref> Osborn, B. (2013). Subverting the Verse–Chorus paradigm; terminally climactic forms in recent rock music. Music Theory Spectrum, 35(1), 23-47. doi:10.1525/mts.2013.35.1.23 <br />
</ref>. This a common theme in many grunge songs and gives its unique sounds, aesthetic, and emotion. <br />
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=== Rhythm ===<br />
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In music, the rhythm of a song is the time in which a song is played. This can be seen when a person is tapping one’s foot to the beat. The rhythm of the song is very important in creating the emotions of the song due to the fact that it determines how fast the piece is going to be. Encompassed in rhythm are sub-topics of duration, tempo, and meter, which helps the listener and musician to follow the structure of the piece. Rhythm tends to be more the technical part of the song but it carries much importance because without it the song would be a mess of lyrics and instruments without direction. So the duration is the length of time between each note and silence. It is used to bring attention to a certain section of the song because a very long note or silence is jarring to the listener. A silence can bring emphasis to the next note and add a complexity to the tempo of the song. The meter of the song is the repetition of accents and stresses that are arranged into the recognizable beat of the song. In a song, the accented notes tend to be the first note of the measure, however, to create more drama many artists utilize syncopation or the putting of accents on off-beats. The meter is emphasized by the song’s tempo or speed at which the beat is played. It is often known as beats per minute (bpm). The tempo of the song determines the level of excitement and mood of the song. It has been said by Gow that “the time-pattern upon his attention must be the excuse for the common conception of rhythm as the emotional element in music” (Gow, 1915, p. 637) or in layman terms. The pattern of sound, silence, and speed adds significantly to the emotions and feeling drawn from the piece so it is imperative that the artist uses the correct rhythm and tempo for the desired effect. An example of this would be how slow blues music tends to be around the 60 bpm and rock and roll music tends to be about 175 bpm. (Gow, 1915, p. 637- 642)<ref> Gow, G. (1915). Rhythm: The Life of Music. The Musical Quarterly, 1(4), 637-652. Retrieved from http://www.jstor.org/stable/738071 </ref> <br />
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Grunge music is all about the aesthetic of the music and many times it is difficult to derive the meaning of the lyrics due to the vocal quality or symbolic meaning of the lyrics. So it’s imperative to set the right tone via the rhythm because without that the song could be changed from a very dark and emotional piece to one that sounds happy and light. Therefore, the duration of the notes and silences have to create drama and angst. The meter must accentuate the right beat and word of the lyrics to make them pop. One consistency round most grunge music is its timed meter, which was 4/4 time or four beats per measure. The emphasis on notes tended to be inconsistent though because it was really dependent on the lyrics. Some songs did use accents of off-beats to draw more attention to one part or another. Meter also creates the structure to the song. Without that the song has very similar and boring notes with no structure. The tempo has to give the song the right attitude. So in grunge music artists wanted a tempo to reflect sadness and depression that they often felt, but they but they wanted to be interesting and attention grabbing. So many artist chooses tempos from around 90-120 (bpm) there was no exact range to the tempos. It was really up to the musician’s ear. However, one can tell that the artist chose the right tempo, if the emotions were portrayed foremost in the music. A good example would be to speed up or slow down a grunge song.<br />
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When that is done, ignoring the higher pitch of Cobain's voice, it is obvious that one will not get the same emphasis on themes of the music leaving the song useless to the artist. The grunge artist needed the aesthetic of angst and pain to drip from the lyrics to get his point across. <br />
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=== Dynamics ===<br />
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The dynamics of a song is the loudness and or softness at which the song is played at. A song can be played very loudly, fortissimo, or very softly, pianissimo, and it would create a different interpretation of the song. Some genres of music tend to produce quieter music while others like to blast their audience with their music. An artist can also have a range of volumes with many choosing sections of their song to be quieter to emphasize the words or the music’s complexity and others sections being softer to portray emotions. Sometimes the artist wants to create a buildup of tension in the song so he or she will use a crescendo, getting louder, or a decrescendo, getting softer to achieve it. Another part of dynamics, which was touched on in rhythm, is accenting a note or “leaning into a note” <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017. </ref> and it creates a unique sound. It is important to use dynamics because it keeps the music interesting. A lovely example that many people have probably heard before would be in Richard Strauss's Also Sprach Zarathustra, Op. 30. <br><br />
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It starts our pianissimo and then crescendos to fortissimo until it is absolutely blaring. These dynamics are meant to grab the attention of the audience and awaken anyone who has fallen asleep during the very quiet part. Dynamics are an important part of the music creation process due to the fact that a combination of these dynamics creates the genre's signature style. Hardcore rock is known to bombard their audience with sound while other genres such as country tend to have a moderate volume. <br />
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Dynamics is another really important element in grunge music because it can be used as an emphasis on particular parts of the song. The song could go from a verse of quiet reflection to a chorus of raging anger. This element is interlinked with all of the other elements to create the song the way that artist meant to portray it. Many of the grunge artists use dynamics to emphasize the themes of the song. So while many songs of the grunge genre do tend to vacillate between very loud and quiet, not every song does. It all depends on the themes and emotions of the songs. An example of the differences would be comparing the dynamics of Black Hole Sun by Soundgarden and Glycerine by Bush. They are both classified under the genre of grunge music, but they have totally different dynamics. In Black Hole Sun, the first verse starts out pretty quiet to emphasize the almost euphoric nature of words and the invisibility the singer feels. Then in the chorus, there is a large increase in volume which tries to capture the anger and pain of his invisibility. However, in Glycerine, the verse starts out pretty quiet and has a mournful tone and it crescendos ever so slightly into the chorus which is still mournful plus a bit remorseful also. The dynamics are used in grunge as an emphasis on certain feelings and emotions and though some do have a pattern of a quite verse and loud chorus some use other dynamics to get their point across. <br />
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=== Form ===<br />
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In music, the element of form is a combination of the repetition, contrast, and continuity that creates a song’s uniqueness. The form is very dependent on the other elements of music because it is the way the music is arranged. There is a mixture of musical ideas that are carefully arranged to create the meaning behind the music, which is illustrated when the chorus, speaking both lyrically and instrumentally, is repeated. To differentiate the diversions in music, letters such as A, B, C, are used. This is used determine the slight variation in musical patterns. Repetition is often utilized in form to set the theme of the song. This is seen when the chorus is repeated or the verse lyrics change and music stays the same. Repetition in music is known to create continuity and is usually done with a catchy chorus. Contrarily when there is a change or contrast in music, it is often used to note a shift in mood. The form includes a myriad of types including strophic, binary, verse/chorus song, and ternary forms. These types of forms are derived from the repetition, contrast, and continuity referred to previously. The strophic form is when the same music is repeated over and over for several verses of music. This is the most basic form, which lacks contrast and is all repetition. The message the song is trying to portray is usually very elementary. In the binary form, there are two parts. It uses contrast to highlight the question answer music phrasing between the similar phrasing contrasting section. A combination between the binary and strophic forms is the Verse/ Chorus Song form. It alternates between the storytelling verses, which contain different lyrics each verse, and the recurring chorus. <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017</ref>. It creates the feeling of familiarity and allows for many ideas and feelings to be told and then reiterated in the chorus, which is very important in grunge music. The last form being covered is the ternary from. It is a three-part form that has a repletion of the first verse, with different lyrics, which then processes to the chorus and returns back to the theme of the first verse. The form is very diverse in music and can evoke different emotions. So one can see how important it is to grunge music because of its ability to highlight the different parts of the song through repetition, contrast, and continuity. <br />
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Grunge music is primarily about emotions and social issues that plagued many of the youth during that time, so it is very important to have the music bring attention to these issues through the phrasing of the chorus and verses. Songs In the 1990’s many rock songs followed a verse-chorus form, which Brad Osborn likes to call the “verse-chorus paradigm” (Osborn, 2013, p. 23). <ref> Osborn, B. (2013). Subverting the Verse–Chorus Paradigm: Terminally Climactic Forms in Recent Rock Music. Music Theory Spectrum, 35(1), 23-47. doi:10.1525/mts.2013.35.1.23 </ref> or in less layman terms a verse-chorus pattern. Osborn then quotes John Covach who says “In a verse-chorus [form]...the focus of the song is squarely on the chorus...[T]he verses serve primarily to prepare the return of the chorus’’ (Osborn, 2013, p. 23) and this makes the song sound like it’s using the chorus as the main bringer of emotion to the song. Many grunge songs, due to the fact that they are part of the rock genre, did use this form. It allowed many of the emotions of the first verse to be realized and then an overall feeling of dissatisfaction to be released about these feelings. This can especially be seen in “Heart-Shaped Box” by Nirvana, which starts with verse 1 <div style="text-align: center;"> She eyes me like a Pisces when I am weak <br><br />
I've been locked inside your heart-shaped box for weeks <br><br />
I've been drawn into your magnetar pit trap trap <br><br />
I wish I could eat your cancer when you turn black<ref> https://play.google.com/music/preview/Ttdyvwmcelupwuxwf6fsabw2qwq?lyrics=1&utm_source=google&utm_medium=search&utm_campaign=lyrics&pcampaignid=kp-lyrics </ref> </div><br>. The music plays on the use of the verse-chorus form to highlight the emotions of feeling trapped and helpless, which are then built on during the chorus <div style="text-align: center;"> Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice <br><br />
Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice<br><br />
Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice, your advice<ref> https://play.google.com/music/preview/Ttdyvwmcelupwuxwf6fsabw2qwq?lyrics=1&utm_source=google&utm_medium=search&utm_campaign=lyrics&pcampaignid=kp-lyrics </ref> </div><br>. The chorus is emphasizing the trapped feeling the singer is feeling, which he compares to debt. He feels that he is ever in debt and trapped. The next verse, which is musically a mirror of the first verse, but the lyrics speak of the great helpless he feels. This form allows great emphasis on the chorus and it also climaxes at the end when the last chorus is repeated. However, not every grunge song contained this form. In Glycerine by Bush, the song has a much different form, but still allows the emotions of sorrow and regret be portrayed to the audience. <br />
It’s all about the emotions being reached. They did not need to use this form to release and tell all of the audience their problems. It can be reached just as well with other songs <br />
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== Musical analysis of songs ==<br />
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Taking what has been learned about harmony, rhythm, dynamics, and form and its importance to grunge music now lets look at some songs created in the "grunge" music style. Keep in mind that you're just taking a small slice of examples and that this table isn't all-encompassing. Also note that some of the harmony listed is a general overview of the keys/tonalities explored. Find out more about grunge music and its history [[Grunge in London|here]]. <br />
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{| class="wikitable" width="80%"<br />
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! scope="row"| Grunge Music of the Late 1980's - Mid 1990's<br />
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! Musical Elements <br />
! Heart Shaped Box <br />
! Black Hole Sun <br />
! Creep<br />
! Glycerine <br />
! Man in the Box<br />
|-<br />
! scope="row"| Artist <br />
| align="center"| Nirvana <br />
| align="center"| Soundgarden <br />
| align="center"| Radiohead<br />
| align="center"| Bush <br />
| align="center"| Alice in Chains <br />
|-<br />
! scope="row"| Rhythm<br />
| align="center"| <br />
* Time Signature: 4/4<br />
*Tempo: Moderately (108 - 120 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: 120 bpm<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: (90-93 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: Moderately (112-116 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: Moderately (107-109 bpm)<br />
|-<br />
! scope="row"| Harmony<br />
| align="center"| <br />
* Key: A minor<br />
*Major Chords: A5, F5, D5/ A, F5, D7<br />
*Chord Progressions: A5, F5, D5, A, D7<br />
| align="center"|<br />
* Key: F major<br />
*Major Chords: Gsus, G6, Bb6, F5, Em<br />
| align="center"|<br />
* Key: G major<br />
*Major Chords: G, B, C, Cm<br />
*Chord Progressions: G, B, C, Cm<br />
| align="center"|<br />
* Key: F major<br />
*Major Chords: F, C5, D5, Bb5<br />
*Chord Progressions: F, C5, D5, Bb5<br />
| align="center"|<br />
* Key: E minor <br />
* Major Chords: Em, E5, G, D, A<br />
*Chord Progressions: G5 G6 G5 G6 C E5<br />
|-<br />
! scope="row"| Dynamics <br />
| align="center"| <br />
*quite verse and roaring chorus <br />
| align="center"|<br />
*quite verse and roaring chorus <br />
| align="center"|<br />
*quite verse and roaring chorus <br />
*crescendo to chorus <br />
*decrescendo to verse <br />
| align="center"|<br />
*quite crescendo loud moderate level<br />
| align="center"|<br />
*moderate <br />
|-<br />
! scope="row"| Form <br />
| align="center"| <br />
*verse/chorus song form <br />
| align="center"|<br />
*verse/chorus song form <br />
| align="center"|<br />
*verse/chorus song form<br />
| align="center"|<br />
* verse/chorus/ bridge form <br />
| align="center"|<br />
*ABABB Form <br />
|- <br />
|}<br />
<br />
<br />
<br />
[[File: ProjectPicture.jpg|x320px|right|thumb| Additional Image]]<br><br />
<br />
=Section 2: Elements of Writing a Grunge Song=<br />
<br><br />
So now that we have a solid understanding of what harmony, rhythm, dynamics, and form are and how they are used in grunge music, we are now ready to write a song that emphasizes the true elements of grunge music. Here we are going to go step by step and identify how to create one of these grunge songs. We will be looking back at both our background and analysis of grunge songs to help us determine the best way to make a number one seller like “Smells Like Teen Spirit” by Nirvana. If one is not familiar with a lot of grunge music, I would suggest looking at my page [[Grunge in London|Grunge in London]]. That page will give you more background and information about the grunge era and includes some of its iconic songs from artists both from America and London. The purpose of this is to create a light-hearted and funny guide that highlights the both the technical aspects of grunge music and its unique sound that was learned in the background. While also pointing out repetitive nature of the themes, its inaudible lyrics, and their creepy videos. This is all made in good fun and is not meant to diminish any of the personal problems that these singers faced. They had very serious problems that some were not able to overcome and many did use music as an outlet to express their emotions. But for our purposes, we are focusing more on the teen angst portion, which contains more insignificant problems like Wi-Fi buffering or not having the latest video game, which is trying to fit in with this current generation of teenagers in a world of technology. From this, we will produce steps to creating a chart-topping, show-stopping, musical genius of a grunge song that has the consideration of the elements of music we analyzed. <br />
<br><br />
<br><br />
Grunge music was very much known for its aesthetic and its ability to connect with the youth of generation x or those born in the 1990’s. It covered many “distasteful” topics such as depression, suicide, and alienation, which many grunge artists experienced and fought a daily battle to overcome. Today, many still listen to grunge music and find it comforting to know that there were others out there going through the same struggles of feeling forgotten, rejected and lost. But for those who feel that grunge music does not fit in with their technology filled life, they may want to create a grunge song that covers a topic they feel creates negative feelings for them. So to get into the proper mindset to write this song, one must dig deep into the recesses of his or her feelings of teen angst to dig out some sort of darker emotions. May I suggest a YouTube video of a pug who can’t roll over, not having enough phone data, or trying to watch the finale of your favorite show but the Wi-Fi keeps buffering the video? Think of something that is basically insignificant to the rest of the world and only really matters to you. A bad selfie would qualify as a good one also but may need to be prefaced that it was posted to social media and your crush may see it. Horrifying I know! Once you have found the feelings you would like to express in your song, start thinking of how you would like to portray those emotions and what you would like the overall sound to be. These feelings will be the base of your song and all of your further decisions will be based on the mood created by these emotions. I have personally dug out from the recesses of my long-buried teen nerdy angst the feeling of anxiety and sorrow when my code wouldn’t compile. <br><br />
<br><br />
Your next step is choosing how you would like to portray that to your listeners. I would do this by making it sound like the world will end if the code doesn’t work and that all will be lost. Don’t be afraid to be over dramatic. That’s what attracts people to the music is the drama and emotion. Right? Now that that has been cleared up, the actual song can now be written. One must start with the most crucial part first, the harmony. When done right, the harmony helps to create the emotion of the music. In grunge, musicians experimented with a variety of different techniques and ideas. They wanted to step out of the norm of alternative music. So, they experimented the chords of the music and found that when they distort the note a great deal it produces a much richer sound that reaches higher. Therefore, much of grunge music is written in 3 note chords which stem from a key signature. So, the first part of creating your harmony is deciding what key you would like your song, which you could do by picking you favorite note. I will be arbitrarily picking the key of F major. If you have a favorite key pick that one; it will make it more personal to you. Next, for choosing your chord progressions pick whatever sounds good together. Also, make sure to have at least one modulation of a note in there. It is a grunge classic and a must if you want your song to be grunge. This will create the dissonance you are looking for and will add to any emotion ranging from hatred to anxiety. Wow look at that, after playing with chords for a few hours, you will be able to get some chord progressions that you like. At this stage, you will also have to decide what instruments you would like to use. You honestly can’t go wrong with the grunge classic of guitar, bass guitar and drum set. If you are feeling fancy you could add another instrument to complement your theme and mood.<br><br />
<br><br />
After your harmony is all figured out, which will probably take a while, you will need to figure out your rhythm. The rhythm as stated before is really based on the emotion of the song so you’re going to need to play around with the speeds until you feel it has reached the right mood to represent the emotions you are trying to portray. Many grunge pieces have a range from 90-120 (bpm), but feel free to choose one that best suits the song. Dynamics is another important part of the piece do to that fact it determines what sections are loud and what sections are softer. Many times gunge utilized dynamics to create a call and response type of sound in the song. It also had the power to create tension in a song so it may work for your song if that is what you are striving for. One may also put accents on different parts of the song where you want to highlight a lyrics. The last thing you’ll need is the form of the song or how it the song is constructed both lyrically and musically. It is all about the repetition of the song of the chorus and its verses. The classic rock and grunge form of the 1990s was the verse-chorus form that focused its attention to the chorus. This is a really nice form for if you are highlighting your chorus. Though all grunge songs did not use this form, they also achieved their aesthetic by used other forms. So feel free to look into other forms that may make your song more grunge. The last requirement to writing a grunge song is lyrics! All grunge songs contained lyrics that expressed their emotions, so make your lyrics emotional and full of angst. As a bonus, have your singer sing very muffled and with almost unintelligible manner. It seemed really popular with bands such as Nirvana and Radiohead. You can't really hear the lyrics but you still felt a deep emotional connection to them. Any of these steps can be done in any order, so maybe start with the harmony or lyrics and form. It's really up to you. Much of the genre was experimentation held together by angst and great chords. And there you have it! You have created the next “Smells Like Teen Spirit”. Now go out and share your amazing song with the world, brace the world for its awesomeness! <br />
<br><br />
<br><br />
<br />
=Conclusion=<br />
<br><br />
In this project, I did an analysis of music theory from the point of view of grunge music. Music, in general, is so incredibly versatile with its ability to change one element to change the whole song and its intentions. All of the elements of music are important to delivering the music’s message. So I decided to look at grunge music though four of the elements of music to give an in-depth analysis on how these elements create the grunge sound. I also looked for ways the elements of music tied the whole genre together and gave it its particular sound. Grunge music was a unique genre that popped up as a sub-genera of alternative music, so I wanted to see what made it stand out from the rest. I determined that the genre itself was notable for its emotional connection to the music. The artists took advantage of rhythm, form, dynamics, and harmony to fit their feelings of depression, angst, and anger. Most notable they changed the way chords were heard by distorting the music’s sounds. It created a fuller sound and changed the chord progressions. They were very experimental and passionate about their music and led me to a “pattern” in their music, which was that it had to be full of emotion and it had to have distortion of chords that allowed them to modulate certain notes. I was then able to play off of this pattern to create a satirized guide to creating grunge music. In the future, I would like to see more research done on patterns in grunge music because this music created a generation and still inspires many today. <br />
<br><br><br />
<br />
=External Links=<br />
[[Grunge in London| Grunge in London]]<br />
<br><br><br />
<br />
=References=<br />
<br />
[[Category:Music Projects]]<br />
[[Category:2017]]<br />
<br><br></div>Kfconroyhttps://londonhuawiki.wpi.edu/index.php?title=Music_Theory_behind_Grunge_Music&diff=18733Music Theory behind Grunge Music2017-06-21T22:59:23Z<p>Kfconroy: </p>
<hr />
<div><br />
by [[User:Kfconroy|Katharine Conory]]<br><br />
<br />
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|label2 = Music Theory behind Grunge music <br />
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__TOC__<br />
<br />
<br />
=Abstract=<br />
The objective of this milestone is to take all that I have learned from my Grunge in London Capstone to analysis the music under the lens of music theory. I hope to be able to see what grunge music has to offer by way of harmony, rhythm, dynamics, and form, which are some of the elements of all music. Grunge music was a very special genre in which had a pretty distinct sound and attitude, but no real form to it. So in order to determine if there is a real “formula” to grunge music, a genre of rock, I am distinguishing from the alternative music of that time that did not count under the umbrella of grunge. For my deliverable, I am taking all that I learned from this analysis of grunge music from a music theory background to create my own guide to what a grunge song would contain in the way of harmony, rhythm, dynamics and form with examples of what I would do. <br> <br><br />
For this project, I am drawing back on my past experience with music theory and my violin background. This is slightly challenging due to the fact that harmony for a violin is much simpler for a violin than a guitar. In high school, I took several music classes and was in both chorus and band. I hope to gain more knowledge about music theory and help others understand music as well. <br />
<br><br><br />
<br />
=Introduction=<br />
This project is meant to introduce those who enjoy music to the music theory or backbone of music that makes it sounds a certain way or gives it a certain emotion. Music is defined by its elements, which allows a certain genre of music sounds different than another. So, I distinguished four important elements of music and did an in-depth analysis of each with a comparison of grunge to popular rock music of that time. From that analysis, I then produced a guide to producing my own gunge song with examples of what I would do. <br> <br><br />
In my research, I found that grunge was more covered as a social and ethical topic with little being covered about the music itself. It was difficult to find much on the elements of music in respect to the grunge genre itself, but I did find some info on it under the umbrella of alternative. I discovered that its sound and style was primarily based off of the music’s harmony with the rhythm, form, and dynamics still very important to its overall sound. But, there was no real pattern to the music. Together in had a unique sound due to the harmonic practices, but what really kept the genre a genre was the music’s attitude and the taboo topics it tried to address. Each artist has its own unique style and sound but they all fell into the same genre. This project needs more research to fully grasp the musical differences between grunge music and the popular rock of the time. <br />
<br><br><br />
<br />
=Section 1: Background=<br />
Grunge was a style choice, a cultural movement and most importantly a music style that appeared in the late 1980’s to the early 1990’s, which songs had focused on topics of a taboo nature such as alienation, depression, and suicide. The movement focused on using their music to enlighten those around them about the problems that they were suffering from, which resonated very well with the youth who were also facing many of those issues. It was very popular and topped many of the more well-known artists. It had a new an appealing sound that differed from the rock and pop music of day. Grunge music is considered to be a sub-genre of rock with heavy overlap with other rock subgenres such as alternative, metal, and punk <ref> STRONG, C. (2016). GRUNGE: music and memory. S.l.: ROUTLEDGE. </ref>.The music contained a dirty and raw sound guitar sound, which gave the genre its name. This music has a significant effect on the culture of the Seattle area where is was started, which is no surprise due to the fact that music has always been a major component of cultural changes in society. There have been many scholarly articles citing its importance and during this time there was a major shift in attitudes towards the world and the people who lived in it, which emphasized the feelings correlated to alienation, depression, and suicide. However one may ask how music, subtracting the lyrics, could evoke such feelings, which in fact brings me to the focus of this capstone; the music theory behind grunge music that gave it its unique sound. <br><br> <br />
The music theory behind grunge music will explain how this music became so unique, but this calls into question of the definition music. In the most literal idea, one can see music as “vibrations in the air that are observed by us and then interpreted as sounds. These sounds play out over time, meaning that music is, therefore, sound over time” <ref> Samama, L., & Clements, D. (2016). What is music? In The Meaning of Music (pp. 27-31). Amsterdam University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/j.ctt1b9x1ts.5</ref>. However, that is way too literal and would infer that all sounds are music like all paintings are works of art. Music is way more sophisticated and can be seen as “multi-dimensional (and a) multimedia phenomenon’’ <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017.</ref>. Therefore music is grouped into seven different elements, which are rhythm, dynamics, melody, harmony, tone color, texture, and form to help identify the key differences between grunge music and say rap. These elements added to the sound and identity of the genre, so much so it stood out from the rest of the alternative genre, which grunge was a subgenre of, during that era. Below I have chosen 4 elements I feel distinguished the grunge genre of from that which was popular during the 1990’s and created the special sound to the music that allowed the artists to express their emotions. <br><br> <br />
<br />
==Musical Elements ==<br />
===Harmony === <br />
<br><br />
Harmony is very important to the creation of music, due to the fact it the way notes are played in relation to each other. This is a very technical and complex element of music that can be fairly hard to understand, so it is important to start at the beginning. There are seven notes in all of the music, not including all of the flats and sharps, A, B, C, D, E, F, G and these are the building blocks on which songs can then be built. The full list of notes which contain all the flats (b) and sharps (#) starting at A is '''A''', A#/Bb, '''B''', C, '''C#/Db''', '''D''', D#/Eb, '''E''', F, '''F#/Gb''', G, '''G#/Ab''', '''A''' and follows a pattern of 2212221, which gives a scale of A major. The pattern is followed by the bolded letters produces A, B, C#, D, E, F#, G#, and A as the A Major Scale. From the scale, one can then produce all of the chords that can be made from that key. A chord is several notes played together to that are separated by thirds, which produce notes that complement each other very well. The chords for an A major key would contain AC#E I (major), BDF# ii (minor), C#EG# iii (minor), DF#A IV (major), EG#B V (major), F#AC# vi (minor), G#BD vii0 (diminished). To form these 3 note chords, one takes the scale and starts at the first note in the scale, which in our case is A. Then, skip the next note, B, and chose C# to do this again for the third and last note of the chord. Your final chord will be AC#E, which is a major chord and they you do it for B, C#, etc. for the rest of the chords until you come back to your original note A. The chords are in a pattern of major, minor, minor, major, major, minor, and diminished, which are shown by the capitalized Roman numerals rather than the lower case ones and the 0 at the end means diminished. Another name this goes by is diatonic harmony and all this is the way notes relate with each other in a certain key. All of this can be replicated for all of the other keys in music to get chords. These chords then can be played in succession after one another and produce a chord progression. Some commonly used chord progressions in the key of A are ADE (I – IV- V) and BEA (ii-V-I). These chords and chord progression are what creates the harmony in the song and they are often used in term of how harsh they sound. The harshness of chords is quantified into dissonance and consonance. Dissonance is a very harsh sounding harmony and its chords known for creating tension in a piece. Consonance is a smooth sounding harmony that creates consonant chords, which resolves tension created by the dissonant chords. Chords are very important to music because it truly creates the mood of the music. More dissonant sounding music sounds almost unstable, eerie and sad. A really good example is Mozart’s Quartetto K. 465 "delle dissonanze". One can hear the very dissonant beginning and then throughout the rest of the piece, one can hear how dissonance is resolved by consonance (The Elements Of Music, 2017, p. 3). <htmltag tagname="iframe" id= width="200" height="150" src="https://www.youtube.com/embed/08uY0-ehL-w" frameborder="0" allowfullscreen></htmltag> <br />
<br><br />
In grunge music, harmony played a large part in creating its aesthetic and sound. This music was very powerful and was known to use “power chords” (McDonald, 2000, p.355) as a “set of harmonic practices that rock musicians, particularly those who participate in the domain of guitar-oriented 'alternative' rock, have been using” (McDonald, 2000, p.355) <ref> McDonald, C. (2000). Exploring modal subversions in alternative music. Popular Music, 19(3), 355-363. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/853641 </ref>. These musicians were trying to break the mold of rock and alternative music so they tried new practices such as distorting the guitar’s sounds and choosing unique chord combinations. An example of this was the change of the power chords, which are normally fifths or fourths (McDonald, 2000, p.356). However, do to the heavy guitar distortion, created by overloading the signal into the amplifier, it created a more complex sound that allowed more sound to come from the notes played. This distortion allowed chords done in thirds to have a richer and fuller sounds and as a byproduct created a very dissonant sound (Biamonte, 2010, p. 97). Another in interesting part to grunge’s harmony was its use of “third or cross relations” (McDonald, 2000, p.357) that allows songs that were written in the key of A major and as we determined before C# would be the C note used, however in grunge music the C would incongruently change a minor third to C5 or Cb. This is what author Chris McDonald calls “modal subversion” (McDonald, 2000, p.357). It used constantly in these songs and an example of it would be in “Smells like Teen Spirit” by Nirvana. In this song the key is in F minor and in that scale A is natural but in “Smells like Teen Spirit” the A modulates to Ab (Osborn, 2013, 31) <ref> Osborn, B. (2013). Subverting the Verse–Chorus paradigm; terminally climactic forms in recent rock music. Music Theory Spectrum, 35(1), 23-47. doi:10.1525/mts.2013.35.1.23 <br />
</ref>. This a common theme in many grunge songs and gives its unique sounds, aesthetic, and emotion. <br />
<br><br><br />
<br />
=== Rhythm ===<br />
<br><br />
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In music, the rhythm of a song is the time in which a song is played. This can be seen when a person is tapping one’s foot to the beat. The rhythm of the song is very important in creating the emotions of the song due to the fact that it determines how fast the piece is going to be. Encompassed in rhythm are sub-topics of duration, tempo, and meter, which helps the listener and musician to follow the structure of the piece. Rhythm tends to be more the technical part of the song but it carries much importance because without it the song would be a mess of lyrics and instruments without direction. So the duration is the length of time between each note and silence. It is used to bring attention to a certain section of the song because a very long note or silence is jarring to the listener. A silence can bring emphasis to the next note and add a complexity to the tempo of the song. The meter of the song is the repetition of accents and stresses that are arranged into the recognizable beat of the song. In a song, the accented notes tend to be the first note of the measure, however, to create more drama many artists utilize syncopation or the putting of accents on off-beats. The meter is emphasized by the song’s tempo or speed at which the beat is played. It is often known as beats per minute (bpm). The tempo of the song determines the level of excitement and mood of the song. It has been said by Gow that “the time-pattern upon his attention must be the excuse for the common conception of rhythm as the emotional element in music” (Gow, 1915, p. 637) or in layman terms. The pattern of sound, silence, and speed adds significantly to the emotions and feeling drawn from the piece so it is imperative that the artist uses the correct rhythm and tempo for the desired effect. An example of this would be how slow blues music tends to be around the 60 bpm and rock and roll music tends to be about 175 bpm. (Gow, 1915, p. 637- 642)<ref> Gow, G. (1915). Rhythm: The Life of Music. The Musical Quarterly, 1(4), 637-652. Retrieved from http://www.jstor.org/stable/738071 </ref> <br />
<br> <br> <br />
Grunge music is all about the aesthetic of the music and many times it is difficult to derive the meaning of the lyrics due to the vocal quality or symbolic meaning of the lyrics. So it’s imperative to set the right tone via the rhythm because without that the song could be changed from a very dark and emotional piece to one that sounds happy and light. Therefore, the duration of the notes and silences have to create drama and angst. The meter must accentuate the right beat and word of the lyrics to make them pop. One consistency round most grunge music is its timed meter, which was 4/4 time or four beats per measure. The emphasis on notes tended to be inconsistent though because it was really dependent on the lyrics. Some songs did use accents of off-beats to draw more attention to one part or another. Meter also creates the structure to the song. Without that the song has very similar and boring notes with no structure. The tempo has to give the song the right attitude. So in grunge music artists wanted a tempo to reflect sadness and depression that they often felt, but they but they wanted to be interesting and attention grabbing. So many artist chooses tempos from around 90-120 (bpm) there was no exact range to the tempos. It was really up to the musician’s ear. However, one can tell that the artist chose the right tempo, if the emotions were portrayed foremost in the music. A good example would be to speed up or slow down a grunge song.<br />
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When that is done, ignoring the higher pitch of Cobain's voice, it is obvious that one will not get the same emphasis on themes of the music leaving the song useless to the artist. The grunge artist needed the aesthetic of angst and pain to drip from the lyrics to get his point across. <br />
<br> <br><br />
<br />
=== Dynamics ===<br />
<br><br />
The dynamics of a song is the loudness and or softness at which the song is played at. A song can be played very loudly, fortissimo, or very softly, pianissimo, and it would create a different interpretation of the song. Some genres of music tend to produce quieter music while others like to blast their audience with their music. An artist can also have a range of volumes with many choosing sections of their song to be quieter to emphasize the words or the music’s complexity and others sections being softer to portray emotions. Sometimes the artist wants to create a buildup of tension in the song so he or she will use a crescendo, getting louder, or a decrescendo, getting softer to achieve it. Another part of dynamics, which was touched on in rhythm, is accenting a note or “leaning into a note” <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017. </ref> and it creates a unique sound. It is important to use dynamics because it keeps the music interesting. A lovely example that many people have probably heard before would be in Richard Strauss's Also Sprach Zarathustra, Op. 30. <br><br />
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It starts our pianissimo and then crescendos to fortissimo until it is absolutely blaring. These dynamics are meant to grab the attention of the audience and awaken anyone who has fallen asleep during the very quiet part. Dynamics are an important part of the music creation process due to the fact that a combination of these dynamics creates the genre's signature style. Hardcore rock is known to bombard their audience with sound while other genres such as country tend to have a moderate volume. <br />
<br><br><br />
Dynamics is another really important element in grunge music because it can be used as an emphasis on particular parts of the song. The song could go from a verse of quiet reflection to a chorus of raging anger. This element is interlinked with all of the other elements to create the song the way that artist meant to portray it. Many of the grunge artists use dynamics to emphasize the themes of the song. So while many songs of the grunge genre do tend to vacillate between very loud and quiet, not every song does. It all depends on the themes and emotions of the songs. An example of the differences would be comparing the dynamics of Black Hole Sun by Soundgarden and Glycerine by Bush. They are both classified under the genre of grunge music, but they have totally different dynamics. In Black Hole Sun, the first verse starts out pretty quiet to emphasize the almost euphoric nature of words and the invisibility the singer feels. Then in the chorus, there is a large increase in volume which tries to capture the anger and pain of his invisibility. However, in Glycerine, the verse starts out pretty quiet and has a mournful tone and it crescendos ever so slightly into the chorus which is still mournful plus a bit remorseful also. The dynamics are used in grunge as an emphasis on certain feelings and emotions and though some do have a pattern of a quite verse and loud chorus some use other dynamics to get their point across. <br />
<br><br><br />
=== Form ===<br />
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In music, the element of form is a combination of the repetition, contrast, and continuity that creates a song’s uniqueness. The form is very dependent on the other elements of music because it is the way the music is arranged. There is a mixture of musical ideas that are carefully arranged to create the meaning behind the music, which is illustrated when the chorus, speaking both lyrically and instrumentally, is repeated. To differentiate the diversions in music, letters such as A, B, C, are used. This is used determine the slight variation in musical patterns. Repetition is often utilized in form to set the theme of the song. This is seen when the chorus is repeated or the verse lyrics change and music stays the same. Repetition in music is known to create continuity and is usually done with a catchy chorus. Contrarily when there is a change or contrast in music, it is often used to note a shift in mood. The form includes a myriad of types including strophic, binary, verse/chorus song, and ternary forms. These types of forms are derived from the repetition, contrast, and continuity referred to previously. The strophic form is when the same music is repeated over and over for several verses of music. This is the most basic form, which lacks contrast and is all repetition. The message the song is trying to portray is usually very elementary. In the binary form, there are two parts. It uses contrast to highlight the question answer music phrasing between the similar phrasing contrasting section. A combination between the binary and strophic forms is the Verse/ Chorus Song form. It alternates between the storytelling verses, which contain different lyrics each verse, and the recurring chorus. <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017</ref>. It creates the feeling of familiarity and allows for many ideas and feelings to be told and then reiterated in the chorus, which is very important in grunge music. The last form being covered is the ternary from. It is a three-part form that has a repletion of the first verse, with different lyrics, which then processes to the chorus and returns back to the theme of the first verse. The form is very diverse in music and can evoke different emotions. So one can see how important it is to grunge music because of its ability to highlight the different parts of the song through repetition, contrast, and continuity. <br />
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Grunge music is primarily about emotions and social issues that plagued many of the youth during that time, so it is very important to have the music bring attention to these issues through the phrasing of the chorus and verses. Songs In the 1990’s many rock songs followed a verse-chorus form, which Brad Osborn likes to call the “verse-chorus paradigm” (Osborn, 2013, p. 23). <ref> Osborn, B. (2013). Subverting the Verse–Chorus Paradigm: Terminally Climactic Forms in Recent Rock Music. Music Theory Spectrum, 35(1), 23-47. doi:10.1525/mts.2013.35.1.23 </ref> or in less layman terms a verse-chorus pattern. Osborn then quotes John Covach who says “In a verse-chorus [form]...the focus of the song is squarely on the chorus...[T]he verses serve primarily to prepare the return of the chorus’’ (Osborn, 2013, p. 23) and this makes the song sound like it’s using the chorus as the main bringer of emotion to the song. Many grunge songs, due to the fact that they are part of the rock genre, did use this form. It allowed many of the emotions of the first verse to be realized and then an overall feeling of dissatisfaction to be released about these feelings. This can especially be seen in “Heart-Shaped Box” by Nirvana, which starts with verse 1 <div style="text-align: center;"> She eyes me like a Pisces when I am weak <br><br />
I've been locked inside your heart-shaped box for weeks <br><br />
I've been drawn into your magnetar pit trap trap <br><br />
I wish I could eat your cancer when you turn black<ref> https://play.google.com/music/preview/Ttdyvwmcelupwuxwf6fsabw2qwq?lyrics=1&utm_source=google&utm_medium=search&utm_campaign=lyrics&pcampaignid=kp-lyrics </ref> </div><br>. The music plays on the use of the verse-chorus form to highlight the emotions of feeling trapped and helpless, which are then built on during the chorus <div style="text-align: center;"> Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice <br><br />
Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice<br><br />
Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice, your advice<ref> https://play.google.com/music/preview/Ttdyvwmcelupwuxwf6fsabw2qwq?lyrics=1&utm_source=google&utm_medium=search&utm_campaign=lyrics&pcampaignid=kp-lyrics </ref> </div><br>. The chorus is emphasizing the trapped feeling the singer is feeling, which he compares to debt. He feels that he is ever in debt and trapped. The next verse, which is musically a mirror of the first verse, but the lyrics speak of the great helpless he feels. This form allows great emphasis on the chorus and it also climaxes at the end when the last chorus is repeated. However, not every grunge song contained this form. In Glycerine by Bush, the song has a much different form, but still allows the emotions of sorrow and regret be portrayed to the audience. <br />
It’s all about the emotions being reached. They did not need to use this form to release and tell all of the audience their problems. It can be reached just as well with other songs <br />
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== Musical analysis of songs ==<br />
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Taking what has been learned about harmony, rhythm, dynamics, and form and its importance to grunge music now lets look at some songs created in the "grunge" music style. Keep in mind that you're just taking a small slice of examples and that this table isn't all-encompassing. Also note that some of the harmony listed is a general overview of the keys/tonalities explored. Find out more about grunge music and its history [[Grunge in London|here]]. <br />
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{| class="wikitable" width="80%"<br />
|-<br />
! scope="row"| Grunge Music of the Late 1980's - Mid 1990's<br />
|-<br />
! Musical Elements <br />
! Heart Shaped Box <br />
! Black Hole Sun <br />
! Creep<br />
! Glycerine <br />
! Man in the Box<br />
|-<br />
! scope="row"| Artist <br />
| align="center"| Nirvana <br />
| align="center"| Soundgarden <br />
| align="center"| Radiohead<br />
| align="center"| Bush <br />
| align="center"| Alice in Chains <br />
|-<br />
! scope="row"| Rhythm<br />
| align="center"| <br />
* Time Signature: 4/4<br />
*Tempo: Moderately (108 - 120 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: 120 bpm<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: (90-93 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: Moderately (112-116 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: Moderately (107-109 bpm)<br />
|-<br />
! scope="row"| Harmony<br />
| align="center"| <br />
* Key: A minor<br />
*Major Chords: A5, F5, D5/ A, F5, D7<br />
*Chord Progressions: A5, F5, D5, A, D7<br />
| align="center"|<br />
* Key: F major<br />
*Major Chords: Gsus, G6, Bb6, F5, Em<br />
| align="center"|<br />
* Key: G major<br />
*Major Chords: G, B, C, Cm<br />
*Chord Progressions: G, B, C, Cm<br />
| align="center"|<br />
* Key: F major<br />
*Major Chords: F, C5, D5, Bb5<br />
*Chord Progressions: F, C5, D5, Bb5<br />
| align="center"|<br />
* Key: E minor <br />
* Major Chords: Em, E5, G, D, A<br />
*Chord Progressions: G5 G6 G5 G6 C E5<br />
|-<br />
! scope="row"| Dynamics <br />
| align="center"| <br />
*quite verse and roaring chorus <br />
| align="center"|<br />
*quite verse and roaring chorus <br />
| align="center"|<br />
*quite verse and roaring chorus <br />
*crescendo to chorus <br />
*decrescendo to verse <br />
| align="center"|<br />
*quite crescendo loud moderate level<br />
| align="center"|<br />
*moderate <br />
|-<br />
! scope="row"| Form <br />
| align="center"| <br />
*verse/chorus song form <br />
| align="center"|<br />
*verse/chorus song form <br />
| align="center"|<br />
*verse/chorus song form<br />
| align="center"|<br />
* verse/chorus/ bridge form <br />
| align="center"|<br />
*ABABB Form <br />
|- <br />
|}<br />
<br />
=Section 2: Elements of Writing a Grunge Song=<br />
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=Section 2: Elements of Writing a Grunge Song=<br />
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So now that we have a solid understanding of what harmony, rhythm, dynamics, and form are and how they are used in grunge music, we are now ready to write a song that emphasizes the true elements of grunge music. Here we are going to go step by step and identify how to create one of these grunge songs. We will be looking back at both our background and analysis of grunge songs to help us determine the best way to make a number one seller like “Smells Like Teen Spirit” by Nirvana. If one is not familiar with a lot of grunge music, I would suggest looking at my page [[Grunge in London|Grunge in London]]. That page will give you more background and information about the grunge era and includes some of its iconic songs from artists both from America and London. The purpose of this is to create a light-hearted and funny guide that highlights the both the technical aspects of grunge music and its unique sound that was learned in the background. While also pointing out repetitive nature of the themes, its inaudible lyrics, and their creepy videos. This is all made in good fun and is not meant to diminish any of the personal problems that these singers faced. They had very serious problems that some were not able to overcome and many did use music as an outlet to express their emotions. But for our purposes, we are focusing more on the teen angst portion, which contains more insignificant problems like Wi-Fi buffering or not having the latest video game, which is trying to fit in with this current generation of teenagers in a world of technology. From this, we will produce steps to creating a chart-topping, show-stopping, musical genius of a grunge song that has the consideration of the elements of music we analyzed. <br />
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Grunge music was very much known for its aesthetic and its ability to connect with the youth of generation x or those born in the 1990’s. It covered many “distasteful” topics such as depression, suicide, and alienation, which many grunge artists experienced and fought a daily battle to overcome. Today, many still listen to grunge music and find it comforting to know that there were others out there going through the same struggles of feeling forgotten, rejected and lost. But for those who feel that grunge music does not fit in with their technology filled life, they may want to create a grunge song that covers a topic they feel creates negative feelings for them. So to get into the proper mindset to write this song, one must dig deep into the recesses of his or her feelings of teen angst to dig out some sort of darker emotions. May I suggest a YouTube video of a pug who can’t roll over, not having enough phone data, or trying to watch the finale of your favorite show but the Wi-Fi keeps buffering the video? Think of something that is basically insignificant to the rest of the world and only really matters to you. A bad selfie would qualify as a good one also but may need to be prefaced that it was posted to social media and your crush may see it. Horrifying I know! Once you have found the feelings you would like to express in your song, start thinking of how you would like to portray those emotions and what you would like the overall sound to be. These feelings will be the base of your song and all of your further decisions will be based on the mood created by these emotions. I have personally dug out from the recesses of my long-buried teen nerdy angst the feeling of anxiety and sorrow when my code wouldn’t compile. <br><br />
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Your next step is choosing how you would like to portray that to your listeners. I would do this by making it sound like the world will end if the code doesn’t work and that all will be lost. Don’t be afraid to be over dramatic. That’s what attracts people to the music is the drama and emotion. Right? Now that that has been cleared up, the actual song can now be written. One must start with the most crucial part first, the harmony. When done right, the harmony helps to create the emotion of the music. In grunge, musicians experimented with a variety of different techniques and ideas. They wanted to step out of the norm of alternative music. So, they experimented the chords of the music and found that when they distort the note a great deal it produces a much richer sound that reaches higher. Therefore, much of grunge music is written in 3 note chords which stem from a key signature. So, the first part of creating your harmony is deciding what key you would like your song, which you could do by picking you favorite note. I will be arbitrarily picking the key of F major. If you have a favorite key pick that one; it will make it more personal to you. Next, for choosing your chord progressions pick whatever sounds good together. Also, make sure to have at least one modulation of a note in there. It is a grunge classic and a must if you want your song to be grunge. This will create the dissonance you are looking for and will add to any emotion ranging from hatred to anxiety. Wow look at that, after playing with chords for a few hours, you will be able to get some chord progressions that you like. At this stage, you will also have to decide what instruments you would like to use. You honestly can’t go wrong with the grunge classic of guitar, bass guitar and drum set. If you are feeling fancy you could add another instrument to complement your theme and mood.<br><br />
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After your harmony is all figured out, which will probably take a while, you will need to figure out your rhythm. The rhythm as stated before is really based on the emotion of the song so you’re going to need to play around with the speeds until you feel it has reached the right mood to represent the emotions you are trying to portray. Many grunge pieces have a range from 90-120 (bpm), but feel free to choose one that best suits the song. Dynamics is another important part of the piece do to that fact it determines what sections are loud and what sections are softer. Many times gunge utilized dynamics to create a call and response type of sound in the song. It also had the power to create tension in a song so it may work for your song if that is what you are striving for. One may also put accents on different parts of the song where you want to highlight a lyrics. The last thing you’ll need is the form of the song or how it the song is constructed both lyrically and musically. It is all about the repetition of the song of the chorus and its verses. The classic rock and grunge form of the 1990s was the verse-chorus form that focused its attention to the chorus. This is a really nice form for if you are highlighting your chorus. Though all grunge songs did not use this form, they also achieved their aesthetic by used other forms. So feel free to look into other forms that may make your song more grunge. The last requirement to writing a grunge song is lyrics! All grunge songs contained lyrics that expressed their emotions, so make your lyrics emotional and full of angst. As a bonus, have your singer sing very muffled and with almost unintelligible manner. It seemed really popular with bands such as Nirvana and Radiohead. You can't really hear the lyrics but you still felt a deep emotional connection to them. Any of these steps can be done in any order, so maybe start with the harmony or lyrics and form. It's really up to you. Much of the genre was experimentation held together by angst and great chords. And there you have it! You have created the next “Smells Like Teen Spirit”. Now go out and share your amazing song with the world, brace the world for its awesomeness! <br />
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=Conclusion=<br />
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In this project, I did an analysis of music theory from the point of view of grunge music. Music, in general, is so incredibly versatile with its ability to change one element to change the whole song and its intentions. All of the elements of music are important to delivering the music’s message. So I decided to look at grunge music though four of the elements of music to give an in-depth analysis on how these elements create the grunge sound. I also looked for ways the elements of music tied the whole genre together and gave it its particular sound. Grunge music was a unique genre that popped up as a sub-genera of alternative music, so I wanted to see what made it stand out from the rest. I determined that the genre itself was notable for its emotional connection to the music. The artists took advantage of rhythm, form, dynamics, and harmony to fit their feelings of depression, angst, and anger. Most notable they changed the way chords were heard by distorting the music’s sounds. It created a fuller sound and changed the chord progressions. They were very experimental and passionate about their music and led me to a “pattern” in their music, which was that it had to be full of emotion and it had to have distortion of chords that allowed them to modulate certain notes. I was then able to play off of this pattern to create a satirized guide to creating grunge music. In the future, I would like to see more research done on patterns in grunge music because this music created a generation and still inspires many today. <br />
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=External Links=<br />
[[Grunge in London| Grunge in London]]<br />
<br><br><br />
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=References=<br />
<br />
[[Category:Music Projects]]<br />
[[Category:2017]]<br />
<br><br></div>Kfconroyhttps://londonhuawiki.wpi.edu/index.php?title=Music_Theory_behind_Grunge_Music&diff=18731Music Theory behind Grunge Music2017-06-21T22:58:05Z<p>Kfconroy: </p>
<hr />
<div><br />
by [[User:Kfconroy|Katharine Conory]]<br><br />
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|label2 = Music Theory behind Grunge music <br />
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__TOC__<br />
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<br />
=Abstract=<br />
The objective of this milestone is to take all that I have learned from my Grunge in London Capstone to analysis the music under the lens of music theory. I hope to be able to see what grunge music has to offer by way of harmony, rhythm, dynamics, and form, which are some of the elements of all music. Grunge music was a very special genre in which had a pretty distinct sound and attitude, but no real form to it. So in order to determine if there is a real “formula” to grunge music, a genre of rock, I am distinguishing from the alternative music of that time that did not count under the umbrella of grunge. For my deliverable, I am taking all that I learned from this analysis of grunge music from a music theory background to create my own guide to what a grunge song would contain in the way of harmony, rhythm, dynamics and form with examples of what I would do. <br> <br><br />
For this project, I am drawing back on my past experience with music theory and my violin background. This is slightly challenging due to the fact that harmony for a violin is much simpler for a violin than a guitar. In high school, I took several music classes and was in both chorus and band. I hope to gain more knowledge about music theory and help others understand music as well. <br />
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<br />
=Introduction=<br />
This project is meant to introduce those who enjoy music to the music theory or backbone of music that makes it sounds a certain way or gives it a certain emotion. Music is defined by its elements, which allows a certain genre of music sounds different than another. So, I distinguished four important elements of music and did an in-depth analysis of each with a comparison of grunge to popular rock music of that time. From that analysis, I then produced a guide to producing my own gunge song with examples of what I would do. <br> <br><br />
In my research, I found that grunge was more covered as a social and ethical topic with little being covered about the music itself. It was difficult to find much on the elements of music in respect to the grunge genre itself, but I did find some info on it under the umbrella of alternative. I discovered that its sound and style was primarily based off of the music’s harmony with the rhythm, form, and dynamics still very important to its overall sound. But, there was no real pattern to the music. Together in had a unique sound due to the harmonic practices, but what really kept the genre a genre was the music’s attitude and the taboo topics it tried to address. Each artist has its own unique style and sound but they all fell into the same genre. This project needs more research to fully grasp the musical differences between grunge music and the popular rock of the time. <br />
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=Section 1: Background=<br />
Grunge was a style choice, a cultural movement and most importantly a music style that appeared in the late 1980’s to the early 1990’s, which songs had focused on topics of a taboo nature such as alienation, depression, and suicide. The movement focused on using their music to enlighten those around them about the problems that they were suffering from, which resonated very well with the youth who were also facing many of those issues. It was very popular and topped many of the more well-known artists. It had a new an appealing sound that differed from the rock and pop music of day. Grunge music is considered to be a sub-genre of rock with heavy overlap with other rock subgenres such as alternative, metal, and punk <ref> STRONG, C. (2016). GRUNGE: music and memory. S.l.: ROUTLEDGE. </ref>.The music contained a dirty and raw sound guitar sound, which gave the genre its name. This music has a significant effect on the culture of the Seattle area where is was started, which is no surprise due to the fact that music has always been a major component of cultural changes in society. There have been many scholarly articles citing its importance and during this time there was a major shift in attitudes towards the world and the people who lived in it, which emphasized the feelings correlated to alienation, depression, and suicide. However one may ask how music, subtracting the lyrics, could evoke such feelings, which in fact brings me to the focus of this capstone; the music theory behind grunge music that gave it its unique sound. <br><br> <br />
The music theory behind grunge music will explain how this music became so unique, but this calls into question of the definition music. In the most literal idea, one can see music as “vibrations in the air that are observed by us and then interpreted as sounds. These sounds play out over time, meaning that music is, therefore, sound over time” <ref> Samama, L., & Clements, D. (2016). What is music? In The Meaning of Music (pp. 27-31). Amsterdam University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/j.ctt1b9x1ts.5</ref>. However, that is way too literal and would infer that all sounds are music like all paintings are works of art. Music is way more sophisticated and can be seen as “multi-dimensional (and a) multimedia phenomenon’’ <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017.</ref>. Therefore music is grouped into seven different elements, which are rhythm, dynamics, melody, harmony, tone color, texture, and form to help identify the key differences between grunge music and say rap. These elements added to the sound and identity of the genre, so much so it stood out from the rest of the alternative genre, which grunge was a subgenre of, during that era. Below I have chosen 4 elements I feel distinguished the grunge genre of from that which was popular during the 1990’s and created the special sound to the music that allowed the artists to express their emotions. <br><br> <br />
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==Musical Elements ==<br />
===Harmony === <br />
<br><br />
Harmony is very important to the creation of music, due to the fact it the way notes are played in relation to each other. This is a very technical and complex element of music that can be fairly hard to understand, so it is important to start at the beginning. There are seven notes in all of the music, not including all of the flats and sharps, A, B, C, D, E, F, G and these are the building blocks on which songs can then be built. The full list of notes which contain all the flats (b) and sharps (#) starting at A is '''A''', A#/Bb, '''B''', C, '''C#/Db''', '''D''', D#/Eb, '''E''', F, '''F#/Gb''', G, '''G#/Ab''', '''A''' and follows a pattern of 2212221, which gives a scale of A major. The pattern is followed by the bolded letters produces A, B, C#, D, E, F#, G#, and A as the A Major Scale. From the scale, one can then produce all of the chords that can be made from that key. A chord is several notes played together to that are separated by thirds, which produce notes that complement each other very well. The chords for an A major key would contain AC#E I (major), BDF# ii (minor), C#EG# iii (minor), DF#A IV (major), EG#B V (major), F#AC# vi (minor), G#BD vii0 (diminished). To form these 3 note chords, one takes the scale and starts at the first note in the scale, which in our case is A. Then, skip the next note, B, and chose C# to do this again for the third and last note of the chord. Your final chord will be AC#E, which is a major chord and they you do it for B, C#, etc. for the rest of the chords until you come back to your original note A. The chords are in a pattern of major, minor, minor, major, major, minor, and diminished, which are shown by the capitalized Roman numerals rather than the lower case ones and the 0 at the end means diminished. Another name this goes by is diatonic harmony and all this is the way notes relate with each other in a certain key. All of this can be replicated for all of the other keys in music to get chords. These chords then can be played in succession after one another and produce a chord progression. Some commonly used chord progressions in the key of A are ADE (I – IV- V) and BEA (ii-V-I). These chords and chord progression are what creates the harmony in the song and they are often used in term of how harsh they sound. The harshness of chords is quantified into dissonance and consonance. Dissonance is a very harsh sounding harmony and its chords known for creating tension in a piece. Consonance is a smooth sounding harmony that creates consonant chords, which resolves tension created by the dissonant chords. Chords are very important to music because it truly creates the mood of the music. More dissonant sounding music sounds almost unstable, eerie and sad. A really good example is Mozart’s Quartetto K. 465 "delle dissonanze". One can hear the very dissonant beginning and then throughout the rest of the piece, one can hear how dissonance is resolved by consonance (The Elements Of Music, 2017, p. 3). <htmltag tagname="iframe" id= width="200" height="150" src="https://www.youtube.com/embed/08uY0-ehL-w" frameborder="0" allowfullscreen></htmltag> <br />
<br><br />
In grunge music, harmony played a large part in creating its aesthetic and sound. This music was very powerful and was known to use “power chords” (McDonald, 2000, p.355) as a “set of harmonic practices that rock musicians, particularly those who participate in the domain of guitar-oriented 'alternative' rock, have been using” (McDonald, 2000, p.355) <ref> McDonald, C. (2000). Exploring modal subversions in alternative music. Popular Music, 19(3), 355-363. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/853641 </ref>. These musicians were trying to break the mold of rock and alternative music so they tried new practices such as distorting the guitar’s sounds and choosing unique chord combinations. An example of this was the change of the power chords, which are normally fifths or fourths (McDonald, 2000, p.356). However, do to the heavy guitar distortion, created by overloading the signal into the amplifier, it created a more complex sound that allowed more sound to come from the notes played. This distortion allowed chords done in thirds to have a richer and fuller sounds and as a byproduct created a very dissonant sound (Biamonte, 2010, p. 97). Another in interesting part to grunge’s harmony was its use of “third or cross relations” (McDonald, 2000, p.357) that allows songs that were written in the key of A major and as we determined before C# would be the C note used, however in grunge music the C would incongruently change a minor third to C5 or Cb. This is what author Chris McDonald calls “modal subversion” (McDonald, 2000, p.357). It used constantly in these songs and an example of it would be in “Smells like Teen Spirit” by Nirvana. In this song the key is in F minor and in that scale A is natural but in “Smells like Teen Spirit” the A modulates to Ab (Osborn, 2013, 31) <ref> Osborn, B. (2013). Subverting the Verse–Chorus paradigm; terminally climactic forms in recent rock music. Music Theory Spectrum, 35(1), 23-47. doi:10.1525/mts.2013.35.1.23 <br />
</ref>. This a common theme in many grunge songs and gives its unique sounds, aesthetic, and emotion. <br />
<br><br><br />
<br />
=== Rhythm ===<br />
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In music, the rhythm of a song is the time in which a song is played. This can be seen when a person is tapping one’s foot to the beat. The rhythm of the song is very important in creating the emotions of the song due to the fact that it determines how fast the piece is going to be. Encompassed in rhythm are sub-topics of duration, tempo, and meter, which helps the listener and musician to follow the structure of the piece. Rhythm tends to be more the technical part of the song but it carries much importance because without it the song would be a mess of lyrics and instruments without direction. So the duration is the length of time between each note and silence. It is used to bring attention to a certain section of the song because a very long note or silence is jarring to the listener. A silence can bring emphasis to the next note and add a complexity to the tempo of the song. The meter of the song is the repetition of accents and stresses that are arranged into the recognizable beat of the song. In a song, the accented notes tend to be the first note of the measure, however, to create more drama many artists utilize syncopation or the putting of accents on off-beats. The meter is emphasized by the song’s tempo or speed at which the beat is played. It is often known as beats per minute (bpm). The tempo of the song determines the level of excitement and mood of the song. It has been said by Gow that “the time-pattern upon his attention must be the excuse for the common conception of rhythm as the emotional element in music” (Gow, 1915, p. 637) or in layman terms. The pattern of sound, silence, and speed adds significantly to the emotions and feeling drawn from the piece so it is imperative that the artist uses the correct rhythm and tempo for the desired effect. An example of this would be how slow blues music tends to be around the 60 bpm and rock and roll music tends to be about 175 bpm. (Gow, 1915, p. 637- 642)<ref> Gow, G. (1915). Rhythm: The Life of Music. The Musical Quarterly, 1(4), 637-652. Retrieved from http://www.jstor.org/stable/738071 </ref> <br />
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Grunge music is all about the aesthetic of the music and many times it is difficult to derive the meaning of the lyrics due to the vocal quality or symbolic meaning of the lyrics. So it’s imperative to set the right tone via the rhythm because without that the song could be changed from a very dark and emotional piece to one that sounds happy and light. Therefore, the duration of the notes and silences have to create drama and angst. The meter must accentuate the right beat and word of the lyrics to make them pop. One consistency round most grunge music is its timed meter, which was 4/4 time or four beats per measure. The emphasis on notes tended to be inconsistent though because it was really dependent on the lyrics. Some songs did use accents of off-beats to draw more attention to one part or another. Meter also creates the structure to the song. Without that the song has very similar and boring notes with no structure. The tempo has to give the song the right attitude. So in grunge music artists wanted a tempo to reflect sadness and depression that they often felt, but they but they wanted to be interesting and attention grabbing. So many artist chooses tempos from around 90-120 (bpm) there was no exact range to the tempos. It was really up to the musician’s ear. However, one can tell that the artist chose the right tempo, if the emotions were portrayed foremost in the music. A good example would be to speed up or slow down a grunge song.<br />
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When that is done, ignoring the higher pitch of Cobain's voice, it is obvious that one will not get the same emphasis on themes of the music leaving the song useless to the artist. The grunge artist needed the aesthetic of angst and pain to drip from the lyrics to get his point across. <br />
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=== Dynamics ===<br />
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The dynamics of a song is the loudness and or softness at which the song is played at. A song can be played very loudly, fortissimo, or very softly, pianissimo, and it would create a different interpretation of the song. Some genres of music tend to produce quieter music while others like to blast their audience with their music. An artist can also have a range of volumes with many choosing sections of their song to be quieter to emphasize the words or the music’s complexity and others sections being softer to portray emotions. Sometimes the artist wants to create a buildup of tension in the song so he or she will use a crescendo, getting louder, or a decrescendo, getting softer to achieve it. Another part of dynamics, which was touched on in rhythm, is accenting a note or “leaning into a note” <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017. </ref> and it creates a unique sound. It is important to use dynamics because it keeps the music interesting. A lovely example that many people have probably heard before would be in Richard Strauss's Also Sprach Zarathustra, Op. 30. <br><br />
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It starts our pianissimo and then crescendos to fortissimo until it is absolutely blaring. These dynamics are meant to grab the attention of the audience and awaken anyone who has fallen asleep during the very quiet part. Dynamics are an important part of the music creation process due to the fact that a combination of these dynamics creates the genre's signature style. Hardcore rock is known to bombard their audience with sound while other genres such as country tend to have a moderate volume. <br />
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Dynamics is another really important element in grunge music because it can be used as an emphasis on particular parts of the song. The song could go from a verse of quiet reflection to a chorus of raging anger. This element is interlinked with all of the other elements to create the song the way that artist meant to portray it. Many of the grunge artists use dynamics to emphasize the themes of the song. So while many songs of the grunge genre do tend to vacillate between very loud and quiet, not every song does. It all depends on the themes and emotions of the songs. An example of the differences would be comparing the dynamics of Black Hole Sun by Soundgarden and Glycerine by Bush. They are both classified under the genre of grunge music, but they have totally different dynamics. In Black Hole Sun, the first verse starts out pretty quiet to emphasize the almost euphoric nature of words and the invisibility the singer feels. Then in the chorus, there is a large increase in volume which tries to capture the anger and pain of his invisibility. However, in Glycerine, the verse starts out pretty quiet and has a mournful tone and it crescendos ever so slightly into the chorus which is still mournful plus a bit remorseful also. The dynamics are used in grunge as an emphasis on certain feelings and emotions and though some do have a pattern of a quite verse and loud chorus some use other dynamics to get their point across. <br />
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=== Form ===<br />
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In music, the element of form is a combination of the repetition, contrast, and continuity that creates a song’s uniqueness. The form is very dependent on the other elements of music because it is the way the music is arranged. There is a mixture of musical ideas that are carefully arranged to create the meaning behind the music, which is illustrated when the chorus, speaking both lyrically and instrumentally, is repeated. To differentiate the diversions in music, letters such as A, B, C, are used. This is used determine the slight variation in musical patterns. Repetition is often utilized in form to set the theme of the song. This is seen when the chorus is repeated or the verse lyrics change and music stays the same. Repetition in music is known to create continuity and is usually done with a catchy chorus. Contrarily when there is a change or contrast in music, it is often used to note a shift in mood. The form includes a myriad of types including strophic, binary, verse/chorus song, and ternary forms. These types of forms are derived from the repetition, contrast, and continuity referred to previously. The strophic form is when the same music is repeated over and over for several verses of music. This is the most basic form, which lacks contrast and is all repetition. The message the song is trying to portray is usually very elementary. In the binary form, there are two parts. It uses contrast to highlight the question answer music phrasing between the similar phrasing contrasting section. A combination between the binary and strophic forms is the Verse/ Chorus Song form. It alternates between the storytelling verses, which contain different lyrics each verse, and the recurring chorus. <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017</ref>. It creates the feeling of familiarity and allows for many ideas and feelings to be told and then reiterated in the chorus, which is very important in grunge music. The last form being covered is the ternary from. It is a three-part form that has a repletion of the first verse, with different lyrics, which then processes to the chorus and returns back to the theme of the first verse. The form is very diverse in music and can evoke different emotions. So one can see how important it is to grunge music because of its ability to highlight the different parts of the song through repetition, contrast, and continuity. <br />
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Grunge music is primarily about emotions and social issues that plagued many of the youth during that time, so it is very important to have the music bring attention to these issues through the phrasing of the chorus and verses. Songs In the 1990’s many rock songs followed a verse-chorus form, which Brad Osborn likes to call the “verse-chorus paradigm” (Osborn, 2013, p. 23). <ref> Osborn, B. (2013). Subverting the Verse–Chorus Paradigm: Terminally Climactic Forms in Recent Rock Music. Music Theory Spectrum, 35(1), 23-47. doi:10.1525/mts.2013.35.1.23 </ref> or in less layman terms a verse-chorus pattern. Osborn then quotes John Covach who says “In a verse-chorus [form]...the focus of the song is squarely on the chorus...[T]he verses serve primarily to prepare the return of the chorus’’ (Osborn, 2013, p. 23) and this makes the song sound like it’s using the chorus as the main bringer of emotion to the song. Many grunge songs, due to the fact that they are part of the rock genre, did use this form. It allowed many of the emotions of the first verse to be realized and then an overall feeling of dissatisfaction to be released about these feelings. This can especially be seen in “Heart-Shaped Box” by Nirvana, which starts with verse 1 <div style="text-align: center;"> She eyes me like a Pisces when I am weak <br><br />
I've been locked inside your heart-shaped box for weeks <br><br />
I've been drawn into your magnetar pit trap trap <br><br />
I wish I could eat your cancer when you turn black<ref> https://play.google.com/music/preview/Ttdyvwmcelupwuxwf6fsabw2qwq?lyrics=1&utm_source=google&utm_medium=search&utm_campaign=lyrics&pcampaignid=kp-lyrics </ref> </div><br>. The music plays on the use of the verse-chorus form to highlight the emotions of feeling trapped and helpless, which are then built on during the chorus <div style="text-align: center;"> Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice <br><br />
Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice<br><br />
Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice, your advice<ref> https://play.google.com/music/preview/Ttdyvwmcelupwuxwf6fsabw2qwq?lyrics=1&utm_source=google&utm_medium=search&utm_campaign=lyrics&pcampaignid=kp-lyrics </ref> </div><br>. The chorus is emphasizing the trapped feeling the singer is feeling, which he compares to debt. He feels that he is ever in debt and trapped. The next verse, which is musically a mirror of the first verse, but the lyrics speak of the great helpless he feels. This form allows great emphasis on the chorus and it also climaxes at the end when the last chorus is repeated. However, not every grunge song contained this form. In Glycerine by Bush, the song has a much different form, but still allows the emotions of sorrow and regret be portrayed to the audience. <br />
It’s all about the emotions being reached. They did not need to use this form to release and tell all of the audience their problems. It can be reached just as well with other songs <br />
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== Musical analysis of songs ==<br />
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Taking what has been learned about harmony, rhythm, dynamics, and form and its importance to grunge music now lets look at some songs created in the "grunge" music style. Find out more about grunge music and its history [[Grunge in London|here]]. <br />
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{| class="wikitable" width="80%"<br />
|-<br />
! scope="row"| Grunge Music of the Late 1980's - Mid 1990's<br />
|-<br />
! Musical Elements <br />
! Heart Shaped Box <br />
! Black Hole Sun <br />
! Creep<br />
! Glycerine <br />
! Man in the Box<br />
|-<br />
! scope="row"| Artist <br />
| align="center"| Nirvana <br />
| align="center"| Soundgarden <br />
| align="center"| Radiohead<br />
| align="center"| Bush <br />
| align="center"| Alice in Chains <br />
|-<br />
! scope="row"| Rhythm<br />
| align="center"| <br />
* Time Signature: 4/4<br />
*Tempo: Moderately (108 - 120 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: 120 bpm<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: (90-93 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: Moderately (112-116 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: Moderately (107-109 bpm)<br />
|-<br />
! scope="row"| Harmony<br />
| align="center"| <br />
* Key: A minor<br />
*Major Chords: A5, F5, D5/ A, F5, D7<br />
*Chord Progressions: A5, F5, D5, A, D7<br />
| align="center"|<br />
* Key: F major<br />
*Major Chords: Gsus, G6, Bb6, F5, Em<br />
| align="center"|<br />
* Key: G major<br />
*Major Chords: G, B, C, Cm<br />
*Chord Progressions: G, B, C, Cm<br />
| align="center"|<br />
* Key: F major<br />
*Major Chords: F, C5, D5, Bb5<br />
*Chord Progressions: F, C5, D5, Bb5<br />
| align="center"|<br />
* Key: E minor <br />
* Major Chords: Em, E5, G, D, A<br />
*Chord Progressions: G5 G6 G5 G6 C E5<br />
|-<br />
! scope="row"| Dynamics <br />
| align="center"| <br />
*quite verse and roaring chorus <br />
| align="center"|<br />
*quite verse and roaring chorus <br />
| align="center"|<br />
*quite verse and roaring chorus <br />
*crescendo to chorus <br />
*decrescendo to verse <br />
| align="center"|<br />
*quite crescendo loud moderate level<br />
| align="center"|<br />
*moderate <br />
|-<br />
! scope="row"| Form <br />
| align="center"| <br />
*verse/chorus song form <br />
| align="center"|<br />
*verse/chorus song form <br />
| align="center"|<br />
*verse/chorus song form<br />
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* verse/chorus/ bridge form <br />
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*ABABB Form <br />
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=Section 2: Elements of Writing a Grunge Song=<br />
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=Section 2: Elements of Writing a Grunge Song=<br />
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So now that we have a solid understanding of what harmony, rhythm, dynamics, and form are and how they are used in grunge music, we are now ready to write a song that emphasizes the true elements of grunge music. Here we are going to go step by step and identify how to create one of these grunge songs. We will be looking back at both our background and analysis of grunge songs to help us determine the best way to make a number one seller like “Smells Like Teen Spirit” by Nirvana. If one is not familiar with a lot of grunge music, I would suggest looking at my page [[Grunge in London|Grunge in London]]. That page will give you more background and information about the grunge era and includes some of its iconic songs from artists both from America and London. The purpose of this is to create a light-hearted and funny guide that highlights the both the technical aspects of grunge music and its unique sound that was learned in the background. While also pointing out repetitive nature of the themes, its inaudible lyrics, and their creepy videos. This is all made in good fun and is not meant to diminish any of the personal problems that these singers faced. They had very serious problems that some were not able to overcome and many did use music as an outlet to express their emotions. But for our purposes, we are focusing more on the teen angst portion, which contains more insignificant problems like Wi-Fi buffering or not having the latest video game, which is trying to fit in with this current generation of teenagers in a world of technology. From this, we will produce steps to creating a chart-topping, show-stopping, musical genius of a grunge song that has the consideration of the elements of music we analyzed. <br />
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Grunge music was very much known for its aesthetic and its ability to connect with the youth of generation x or those born in the 1990’s. It covered many “distasteful” topics such as depression, suicide, and alienation, which many grunge artists experienced and fought a daily battle to overcome. Today, many still listen to grunge music and find it comforting to know that there were others out there going through the same struggles of feeling forgotten, rejected and lost. But for those who feel that grunge music does not fit in with their technology filled life, they may want to create a grunge song that covers a topic they feel creates negative feelings for them. So to get into the proper mindset to write this song, one must dig deep into the recesses of his or her feelings of teen angst to dig out some sort of darker emotions. May I suggest a YouTube video of a pug who can’t roll over, not having enough phone data, or trying to watch the finale of your favorite show but the Wi-Fi keeps buffering the video? Think of something that is basically insignificant to the rest of the world and only really matters to you. A bad selfie would qualify as a good one also but may need to be prefaced that it was posted to social media and your crush may see it. Horrifying I know! Once you have found the feelings you would like to express in your song, start thinking of how you would like to portray those emotions and what you would like the overall sound to be. These feelings will be the base of your song and all of your further decisions will be based on the mood created by these emotions. I have personally dug out from the recesses of my long-buried teen nerdy angst the feeling of anxiety and sorrow when my code wouldn’t compile. <br><br />
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Your next step is choosing how you would like to portray that to your listeners. I would do this by making it sound like the world will end if the code doesn’t work and that all will be lost. Don’t be afraid to be over dramatic. That’s what attracts people to the music is the drama and emotion. Right? Now that that has been cleared up, the actual song can now be written. One must start with the most crucial part first, the harmony. When done right, the harmony helps to create the emotion of the music. In grunge, musicians experimented with a variety of different techniques and ideas. They wanted to step out of the norm of alternative music. So, they experimented the chords of the music and found that when they distort the note a great deal it produces a much richer sound that reaches higher. Therefore, much of grunge music is written in 3 note chords which stem from a key signature. So, the first part of creating your harmony is deciding what key you would like your song, which you could do by picking you favorite note. I will be arbitrarily picking the key of F major. If you have a favorite key pick that one; it will make it more personal to you. Next, for choosing your chord progressions pick whatever sounds good together. Also, make sure to have at least one modulation of a note in there. It is a grunge classic and a must if you want your song to be grunge. This will create the dissonance you are looking for and will add to any emotion ranging from hatred to anxiety. Wow look at that, after playing with chords for a few hours, you will be able to get some chord progressions that you like. At this stage, you will also have to decide what instruments you would like to use. You honestly can’t go wrong with the grunge classic of guitar, bass guitar and drum set. If you are feeling fancy you could add another instrument to complement your theme and mood.<br><br />
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After your harmony is all figured out, which will probably take a while, you will need to figure out your rhythm. The rhythm as stated before is really based on the emotion of the song so you’re going to need to play around with the speeds until you feel it has reached the right mood to represent the emotions you are trying to portray. Many grunge pieces have a range from 90-120 (bpm), but feel free to choose one that best suits the song. Dynamics is another important part of the piece do to that fact it determines what sections are loud and what sections are softer. Many times gunge utilized dynamics to create a call and response type of sound in the song. It also had the power to create tension in a song so it may work for your song if that is what you are striving for. One may also put accents on different parts of the song where you want to highlight a lyrics. The last thing you’ll need is the form of the song or how it the song is constructed both lyrically and musically. It is all about the repetition of the song of the chorus and its verses. The classic rock and grunge form of the 1990s was the verse-chorus form that focused its attention to the chorus. This is a really nice form for if you are highlighting your chorus. Though all grunge songs did not use this form, they also achieved their aesthetic by used other forms. So feel free to look into other forms that may make your song more grunge. The last requirement to writing a grunge song is lyrics! All grunge songs contained lyrics that expressed their emotions, so make your lyrics emotional and full of angst. As a bonus, have your singer sing very muffled and with almost unintelligible manner. It seemed really popular with bands such as Nirvana and Radiohead. You can't really hear the lyrics but you still felt a deep emotional connection to them. Any of these steps can be done in any order, so maybe start with the harmony or lyrics and form. It's really up to you. Much of the genre was experimentation held together by angst and great chords. And there you have it! You have created the next “Smells Like Teen Spirit”. Now go out and share your amazing song with the world, brace the world for its awesomeness! <br />
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=Conclusion=<br />
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In this project, I did an analysis of music theory from the point of view of grunge music. Music, in general, is so incredibly versatile with its ability to change one element to change the whole song and its intentions. All of the elements of music are important to delivering the music’s message. So I decided to look at grunge music though four of the elements of music to give an in-depth analysis on how these elements create the grunge sound. I also looked for ways the elements of music tied the whole genre together and gave it its particular sound. Grunge music was a unique genre that popped up as a sub-genera of alternative music, so I wanted to see what made it stand out from the rest. I determined that the genre itself was notable for its emotional connection to the music. The artists took advantage of rhythm, form, dynamics, and harmony to fit their feelings of depression, angst, and anger. Most notable they changed the way chords were heard by distorting the music’s sounds. It created a fuller sound and changed the chord progressions. They were very experimental and passionate about their music and led me to a “pattern” in their music, which was that it had to be full of emotion and it had to have distortion of chords that allowed them to modulate certain notes. I was then able to play off of this pattern to create a satirized guide to creating grunge music. In the future, I would like to see more research done on patterns in grunge music because this music created a generation and still inspires many today. <br />
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=External Links=<br />
[[Grunge in London| Grunge in London]]<br />
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=References=<br />
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[[Category:Music Projects]]<br />
[[Category:2017]]<br />
<br><br></div>Kfconroyhttps://londonhuawiki.wpi.edu/index.php?title=Music_Theory_behind_Grunge_Music&diff=18182Music Theory behind Grunge Music2017-06-21T12:50:42Z<p>Kfconroy: </p>
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by [[User:Kfconroy|Katharine Conory]]<br><br />
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=Abstract=<br />
The objective of this milestone is to take all that I have learned from my Grunge in London Capstone to analysis the music under the lens of music theory. I hope to be able to see what grunge music has to offer by way of harmony, rhythm, dynamics, and form, which are some of the elements of all music. Grunge music was a very special genre in which had a pretty distinct sound and attitude, but no real form to it. So in order to determine if there is a real “formula” to grunge music, a genre of rock, I am distinguishing from the alternative music of that time that did not count under the umbrella of grunge. For my deliverable, I am taking all that I learned from this analysis of grunge music from a music theory background to create my own guide to what a grunge song would contain in the way of harmony, rhythm, dynamics and form with examples of what I would do. <br> <br><br />
For this project, I am drawing back on my past experience with music theory and my violin background. This is slightly challenging due to the fact that harmony for a violin is much simpler for a violin than a guitar. In high school, I took several music classes and was in both chorus and band. I hope to gain more knowledge about music theory and help others understand music as well. <br />
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=Introduction=<br />
This project is meant to introduce those who enjoy music to the music theory or backbone of music that makes it sounds a certain way or gives it a certain emotion. Music is defined by its elements, which allows a certain genre of music sounds different than another. So, I distinguished four important elements of music and did an in-depth analysis of each with a comparison of grunge to popular rock music of that time. From that analysis, I then produced a guide to producing my own gunge song with examples of what I would do. <br> <br><br />
In my research, I found that grunge was more covered as a social and ethical topic with little being covered about the music itself. It was difficult to find much on the elements of music in respect to the grunge genre itself, but I did find some info on it under the umbrella of alternative. I discovered that its sound and style was primarily based off of the music’s harmony with the rhythm, form, and dynamics still very important to its overall sound. But, there was no real pattern to the music. Together in had a unique sound due to the harmonic practices, but what really kept the genre a genre was the music’s attitude and the taboo topics it tried to address. Each artist has its own unique style and sound but they all fell into the same genre. This project needs more research to fully grasp the musical differences between grunge music and the popular rock of the time. <br />
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=Section 1: Background=<br />
Grunge was a style choice, a cultural movement and most importantly a music style that appeared in the late 1980’s to the early 1990’s, which songs had focused on topics of a taboo nature such as alienation, depression, and suicide. The movement focused on using their music to enlighten those around them about the problems that they were suffering from, which resonated very well with the youth who were also facing many of those issues. It was very popular and topped many of the more well-known artists. It had a new an appealing sound that differed from the rock and pop music of day. Grunge music is considered to be a sub-genre of rock with heavy overlap with other rock subgenres such as alternative, metal, and punk <ref> STRONG, C. (2016). GRUNGE: music and memory. S.l.: ROUTLEDGE. </ref>.The music contained a dirty and raw sound guitar sound, which gave the genre its name. This music has a significant effect on the culture of the Seattle area where is was started, which is no surprise due to the fact that music has always been a major component of cultural changes in society. There have been many scholarly articles citing its importance and during this time there was a major shift in attitudes towards the world and the people who lived in it, which emphasized the feelings correlated to alienation, depression, and suicide. However one may ask how music, subtracting the lyrics, could evoke such feelings, which in fact brings me to the focus of this capstone; the music theory behind grunge music that gave it its unique sound. <br><br> <br />
The music theory behind grunge music will explain how this music became so unique, but this calls into question of the definition music. In the most literal idea, one can see music as “vibrations in the air that are observed by us and then interpreted as sounds. These sounds play out over time, meaning that music is, therefore, sound over time” <ref> Samama, L., & Clements, D. (2016). What is music? In The Meaning of Music (pp. 27-31). Amsterdam University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/j.ctt1b9x1ts.5</ref>. However, that is way too literal and would infer that all sounds are music like all paintings are works of art. Music is way more sophisticated and can be seen as “multi-dimensional (and a) multimedia phenomenon’’ <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017.</ref>. Therefore music is grouped into seven different elements, which are rhythm, dynamics, melody, harmony, tone color, texture, and form to help identify the key differences between grunge music and say rap. These elements added to the sound and identity of the genre, so much so it stood out from the rest of the alternative genre, which grunge was a subgenre of, during that era. Below I have chosen 4 elements I feel distinguished the grunge genre of from that which was popular during the 1990’s and created the special sound to the music that allowed the artists to express their emotions. <br><br> <br />
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==Musical Elements ==<br />
===Harmony === <br />
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Harmony is very important to the creation of music, due to the fact it the way notes are played in relation to each other. This is a very technical and complex element of music that can be fairly hard to understand, so it is important to start at the beginning. There are seven notes in all of the music, not including all of the flats and sharps, A, B, C, D, E, F, G and these are the building blocks on which songs can then be built. The full list of notes which contain all the flats (b) and sharps (#) starting at A is '''A''', A#/Bb, '''B''', C, '''C#/Db''', '''D''', D#/Eb, '''E''', F, '''F#/Gb''', G, '''G#/Ab''', '''A''' and follows a pattern of 2212221, which gives a scale of A major. The pattern is followed by the bolded letters produces A, B, C#, D, E, F#, G#, and A as the A Major Scale. From the scale, one can then produce all of the chords that can be made from that key. A chord is several notes played together to that are separated by thirds, which produce notes that complement each other very well. The chords for an A major key would contain AC#E I (major), BDF# ii (minor), C#EG# iii (minor), DF#A IV (major), EG#B V (major), F#AC# vi (minor), G#BD vii0 (diminished). To form these 3 note chords, one takes the scale and starts at the first note in the scale, which in our case is A. Then, skip the next note, B, and chose C# to do this again for the third and last note of the chord. Your final chord will be AC#E, which is a major chord and they you do it for B, C#, etc. for the rest of the chords until you come back to your original note A. The chords are in a pattern of major, minor, minor, major, major, minor, and diminished, which are shown by the capitalized Roman numerals rather than the lower case ones and the 0 at the end means diminished. Another name this goes by is diatonic harmony and all this is the way notes relate with each other in a certain key. All of this can be replicated for all of the other keys in music to get chords. These chords then can be played in succession after one another and produce a chord progression. Some commonly used chord progressions in the key of A are ADE (I – IV- V) and BEA (ii-V-I). These chords and chord progression are what creates the harmony in the song and they are often used in term of how harsh they sound. The harshness of chords is quantified into dissonance and consonance. Dissonance is a very harsh sounding harmony and its chords known for creating tension in a piece. Consonance is a smooth sounding harmony that creates consonant chords, which resolves tension created by the dissonant chords. Chords are very important to music because it truly creates the mood of the music. More dissonant sounding music sounds almost unstable, eerie and sad. A really good example is Mozart’s Quartetto K. 465 "delle dissonanze". One can hear the very dissonant beginning and then throughout the rest of the piece, one can hear how dissonance is resolved by consonance (The Elements Of Music, 2017, p. 3). <htmltag tagname="iframe" id= width="200" height="150" src="https://www.youtube.com/embed/08uY0-ehL-w" frameborder="0" allowfullscreen></htmltag> <br />
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In grunge music, harmony played a large part in creating its aesthetic and sound. This music was very powerful and was known to use “power chords” (McDonald, 2000, p.355) as a “set of harmonic practices that rock musicians, particularly those who participate in the domain of guitar-oriented 'alternative' rock, have been using” (McDonald, 2000, p.355) <ref> McDonald, C. (2000). Exploring modal subversions in alternative music. Popular Music, 19(3), 355-363. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/853641 </ref>. These musicians were trying to break the mold of rock and alternative music so they tried new practices such as distorting the guitar’s sounds and choosing unique chord combinations. An example of this was the change of the power chords, which are normally fifths or fourths (McDonald, 2000, p.356). However, do to the heavy guitar distortion, created by overloading the signal into the amplifier, it created a more complex sound that allowed more sound to come from the notes played. This distortion allowed chords done in thirds to have a richer and fuller sounds and as a byproduct created a very dissonant sound (Biamonte, 2010, p. 97). Another in interesting part to grunge’s harmony was its use of “third or cross relations” (McDonald, 2000, p.357) that allows songs that were written in the key of A major and as we determined before C# would be the C note used, however in grunge music the C would incongruently change a minor third to C5 or Cb. This is what author Chris McDonald calls “modal subversion” (McDonald, 2000, p.357). It used constantly in these songs and an example of it would be in “Smells like Teen Spirit” by Nirvana. In this song the key is in F minor and in that scale A is natural but in “Smells like Teen Spirit” the A modulates to Ab (Osborn, 2013, 31) <ref> Osborn, B. (2013). Subverting the Verse–Chorus paradigm; terminally climactic forms in recent rock music. Music Theory Spectrum, 35(1), 23-47. doi:10.1525/mts.2013.35.1.23 <br />
</ref>. This a common theme in many grunge songs and gives its unique sounds, aesthetic, and emotion. <br />
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=== Rhythm ===<br />
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In music, the rhythm of a song is the time in which a song is played. This can be seen when a person is tapping one’s foot to the beat. The rhythm of the song is very important in creating the emotions of the song due to the fact that it determines how fast the piece is going to be. Encompassed in rhythm are sub-topics of duration, tempo, and meter, which helps the listener and musician to follow the structure of the piece. Rhythm tends to be more the technical part of the song but it carries much importance because without it the song would be a mess of lyrics and instruments without direction. So the duration is the length of time between each note and silence. It is used to bring attention to a certain section of the song because a very long note or silence is jarring to the listener. A silence can bring emphasis to the next note and add a complexity to the tempo of the song. The meter of the song is the repetition of accents and stresses that are arranged into the recognizable beat of the song. In a song, the accented notes tend to be the first note of the measure, however, to create more drama many artists utilize syncopation or the putting of accents on off-beats. The meter is emphasized by the song’s tempo or speed at which the beat is played. It is often known as beats per minute (bpm). The tempo of the song determines the level of excitement and mood of the song. It has been said by Gow that “the time-pattern upon his attention must be the excuse for the common conception of rhythm as the emotional element in music” (Gow, 1915, p. 637) or in layman terms. The pattern of sound, silence, and speed adds significantly to the emotions and feeling drawn from the piece so it is imperative that the artist uses the correct rhythm and tempo for the desired effect. An example of this would be how slow blues music tends to be around the 60 bpm and rock and roll music tends to be about 175 bpm. (Gow, 1915, p. 637- 642)<ref> Gow, G. (1915). Rhythm: The Life of Music. The Musical Quarterly, 1(4), 637-652. Retrieved from http://www.jstor.org/stable/738071 </ref> <br />
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Grunge music is all about the aesthetic of the music and many times it is difficult to derive the meaning of the lyrics due to the vocal quality or symbolic meaning of the lyrics. So it’s imperative to set the right tone via the rhythm because without that the song could be changed from a very dark and emotional piece to one that sounds happy and light. Therefore, the duration of the notes and silences have to create drama and angst. The meter must accentuate the right beat and word of the lyrics to make them pop. One consistency round most grunge music is its timed meter, which was 4/4 time or four beats per measure. The emphasis on notes tended to be inconsistent though because it was really dependent on the lyrics. Some songs did use accents of off-beats to draw more attention to one part or another. Meter also creates the structure to the song. Without that the song has very similar and boring notes with no structure. The tempo has to give the song the right attitude. So in grunge music artists wanted a tempo to reflect sadness and depression that they often felt, but they but they wanted to be interesting and attention grabbing. So many artist chooses tempos from around 90-120 (bpm) there was no exact range to the tempos. It was really up to the musician’s ear. However, one can tell that the artist chose the right tempo, if the emotions were portrayed foremost in the music. A good example would be to speed up or slow down a grunge song.<br />
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When that is done, ignoring the higher pitch of Cobain's voice, it is obvious that one will not get the same emphasis on themes of the music leaving the song useless to the artist. The grunge artist needed the aesthetic of angst and pain to drip from the lyrics to get his point across. <br />
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=== Dynamics ===<br />
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The dynamics of a song is the loudness and or softness at which the song is played at. A song can be played very loudly, fortissimo, or very softly, pianissimo, and it would create a different interpretation of the song. Some genres of music tend to produce quieter music while others like to blast their audience with their music. An artist can also have a range of volumes with many choosing sections of their song to be quieter to emphasize the words or the music’s complexity and others sections being softer to portray emotions. Sometimes the artist wants to create a buildup of tension in the song so he or she will use a crescendo, getting louder, or a decrescendo, getting softer to achieve it. Another part of dynamics, which was touched on in rhythm, is accenting a note or “leaning into a note” <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017. </ref> and it creates a unique sound. It is important to use dynamics because it keeps the music interesting. A lovely example that many people have probably heard before would be in Richard Strauss's Also Sprach Zarathustra, Op. 30. <br><br />
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It starts our pianissimo and then crescendos to fortissimo until it is absolutely blaring. These dynamics are meant to grab the attention of the audience and awaken anyone who has fallen asleep during the very quiet part. Dynamics are an important part of the music creation process due to the fact that a combination of these dynamics creates the genre's signature style. Hardcore rock is known to bombard their audience with sound while other genres such as country tend to have a moderate volume. <br />
<br><br><br />
Dynamics is another really important element in grunge music because it can be used as an emphasis on particular parts of the song. The song could go from a verse of quiet reflection to a chorus of raging anger. This element is interlinked with all of the other elements to create the song the way that artist meant to portray it. Many of the grunge artists use dynamics to emphasize the themes of the song. So while many songs of the grunge genre do tend to vacillate between very loud and quiet, not every song does. It all depends on the themes and emotions of the songs. An example of the differences would be comparing the dynamics of Black Hole Sun by Soundgarden and Glycerine by Bush. They are both classified under the genre of grunge music, but they have totally different dynamics. In Black Hole Sun, the first verse starts out pretty quiet to emphasize the almost euphoric nature of words and the invisibility the singer feels. Then in the chorus, there is a large increase in volume which tries to capture the anger and pain of his invisibility. However, in Glycerine, the verse starts out pretty quiet and has a mournful tone and it crescendos ever so slightly into the chorus which is still mournful plus a bit remorseful also. The dynamics are used in grunge as an emphasis on certain feelings and emotions and though some do have a pattern of a quite verse and loud chorus some use other dynamics to get their point across. <br />
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=== Form ===<br />
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In music, the element of form is a combination of the repetition, contrast, and continuity that creates a song’s uniqueness. The form is very dependent on the other elements of music because it is the way the music is arranged. There is a mixture of musical ideas that are carefully arranged to create the meaning behind the music, which is illustrated when the chorus, speaking both lyrically and instrumentally, is repeated. To differentiate the diversions in music, letters such as A, B, C, are used. This is used determine the slight variation in musical patterns. Repetition is often utilized in form to set the theme of the song. This is seen when the chorus is repeated or the verse lyrics change and music stays the same. Repetition in music is known to create continuity and is usually done with a catchy chorus. Contrarily when there is a change or contrast in music, it is often used to note a shift in mood. The form includes a myriad of types including strophic, binary, verse/chorus song, and ternary forms. These types of forms are derived from the repetition, contrast, and continuity referred to previously. The strophic form is when the same music is repeated over and over for several verses of music. This is the most basic form, which lacks contrast and is all repetition. The message the song is trying to portray is usually very elementary. In the binary form, there are two parts. It uses contrast to highlight the question answer music phrasing between the similar phrasing contrasting section. A combination between the binary and strophic forms is the Verse/ Chorus Song form. It alternates between the storytelling verses, which contain different lyrics each verse, and the recurring chorus. <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017</ref>. It creates the feeling of familiarity and allows for many ideas and feelings to be told and then reiterated in the chorus, which is very important in grunge music. The last form being covered is the ternary from. It is a three-part form that has a repletion of the first verse, with different lyrics, which then processes to the chorus and returns back to the theme of the first verse. The form is very diverse in music and can evoke different emotions. So one can see how important it is to grunge music because of its ability to highlight the different parts of the song through repetition, contrast, and continuity. <br />
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Grunge music is primarily about emotions and social issues that plagued many of the youth during that time, so it is very important to have the music bring attention to these issues through the phrasing of the chorus and verses. Songs In the 1990’s many rock songs followed a verse-chorus form, which Brad Osborn likes to call the “verse-chorus paradigm” (Osborn, 2013, p. 23). <ref> Osborn, B. (2013). Subverting the Verse–Chorus Paradigm: Terminally Climactic Forms in Recent Rock Music. Music Theory Spectrum, 35(1), 23-47. doi:10.1525/mts.2013.35.1.23 </ref> or in less layman terms a verse-chorus pattern. Osborn then quotes John Covach who says “In a verse-chorus [form]...the focus of the song is squarely on the chorus...[T]he verses serve primarily to prepare the return of the chorus’’ (Osborn, 2013, p. 23) and this makes the song sound like it’s using the chorus as the main bringer of emotion to the song. Many grunge songs, due to the fact that they are part of the rock genre, did use this form. It allowed many of the emotions of the first verse to be realized and then an overall feeling of dissatisfaction to be released about these feelings. This can especially be seen in “Heart-Shaped Box” by Nirvana, which starts with verse 1 <div style="text-align: center;"> She eyes me like a Pisces when I am weak <br><br />
I've been locked inside your heart-shaped box for weeks <br><br />
I've been drawn into your magnetar pit trap trap <br><br />
I wish I could eat your cancer when you turn black<ref> https://play.google.com/music/preview/Ttdyvwmcelupwuxwf6fsabw2qwq?lyrics=1&utm_source=google&utm_medium=search&utm_campaign=lyrics&pcampaignid=kp-lyrics </ref> </div><br>. The music plays on the use of the verse-chorus form to highlight the emotions of feeling trapped and helpless, which are then built on during the chorus <div style="text-align: center;"> Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice <br><br />
Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice<br><br />
Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice, your advice<ref> https://play.google.com/music/preview/Ttdyvwmcelupwuxwf6fsabw2qwq?lyrics=1&utm_source=google&utm_medium=search&utm_campaign=lyrics&pcampaignid=kp-lyrics </ref> </div><br>. The chorus is emphasizing the trapped feeling the singer is feeling, which he compares to debt. He feels that he is ever in debt and trapped. The next verse, which is musically a mirror of the first verse, but the lyrics speak of the great helpless he feels. This form allows great emphasis on the chorus and it also climaxes at the end when the last chorus is repeated. However, not every grunge song contained this form. In Glycerine by Bush, the song has a much different form, but still allows the emotions of sorrow and regret be portrayed to the audience. <br />
It’s all about the emotions being reached. They did not need to use this form to release and tell all of the audience their problems. It can be reached just as well with other songs <br />
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== Musical analysis of songs ==<br />
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Taking what has been learned about harmony, rhythm, dynamics, and form and its importance to grunge music now lets look at some songs created in the "grunge" music style. Find out more about grunge music and its history [[Grunge in London|here]]. <br />
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{| class="wikitable" width="80%"<br />
|-<br />
! scope="row"| Grunge Music of the Late 1980's - Mid 1990's<br />
|-<br />
! Musical Elements <br />
! Heart Shaped Box <br />
! Black Hole Sun <br />
! Creep<br />
! Glycerine <br />
! Man in the Box<br />
|-<br />
! scope="row"| Artist <br />
| align="center"| Nirvana <br />
| align="center"| Soundgarden <br />
| align="center"| Radiohead<br />
| align="center"| Bush <br />
| align="center"| Alice in Chains <br />
|-<br />
! scope="row"| Rhythm<br />
| align="center"| <br />
* Time Signature: 4/4<br />
*Tempo: Moderately (108 - 120 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: 120 bpm<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: (90-93 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: Moderately (112-116 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: Moderately (107-109 bpm)<br />
|-<br />
! scope="row"| Harmony<br />
| align="center"| <br />
* Key: A minor<br />
*Major Chords: A5, F5, D5/ A, F5, D7<br />
*Chord Progressions: A5, F5, D5, A, D7<br />
| align="center"|<br />
* Key: F major<br />
*Major Chords: Gsus, G6, Bb6, F5, Em<br />
| align="center"|<br />
* Key: G major<br />
*Major Chords: G, B, C, Cm<br />
*Chord Progressions: G, B, C, Cm<br />
| align="center"|<br />
* Key: F major<br />
*Major Chords: F, C5, D5, Bb5<br />
*Chord Progressions: F, C5, D5, Bb5<br />
| align="center"|<br />
* Key: E minor <br />
* Major Chords: Em, E5, G, D, A<br />
*Chord Progressions: G5 G6 G5 G6 C E5<br />
|-<br />
! scope="row"| Dynamics <br />
| align="center"| <br />
*quite verse and roaring chorus <br />
| align="center"|<br />
*quite verse and roaring chorus <br />
| align="center"|<br />
*quite verse and roaring chorus <br />
*crescendo to chorus <br />
*decrescendo to verse <br />
| align="center"|<br />
*quite crescendo loud moderate level<br />
| align="center"|<br />
*moderate <br />
|-<br />
! scope="row"| Form <br />
| align="center"| <br />
*verse/chorus song form <br />
| align="center"|<br />
*verse/chorus song form <br />
| align="center"|<br />
*verse/chorus song form<br />
| align="center"|<br />
* verse/chorus/ bridge form <br />
| align="center"|<br />
*ABABB Form <br />
|- <br />
|}<br />
<br />
=Section 2: Elements of Writing a Grunge Song=<br />
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[[File: ProjectPicture.jpg|x320px|right|thumb| Additional Image]]<br><br />
So now that we have a solid understanding of what the harmony, rhythm, dynamics, and form are and how they are used in grunge music, we are now ready to write a song that emphasises the true elements of grunge music. Here we are going step by step to identify how to create one of these grunge songs. If one is not familiar with a lot of grunge music, I would suggest looking at my page [[Grunge in London| Grunge in London]]. That page will give you more background and information about the grunge era with some of its iconic songs from artists both from America and London. <br />
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<br />
=== Rhythm ===<br />
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...use as many subsections or main sections as you need to support the claims for why what you did related to your ''Background'' section...<br />
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=== Harmony ===<br />
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...use as many subsections or main sections as you need to support the claims for why what you did related to your ''Background'' section...<br />
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=== Dynamics ===<br />
<br><br />
...and so on and so forth...<br />
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=== Form ===<br />
<br><br />
...and so on and so forth...<br />
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=Conclusion=<br />
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In this project, I did an analysis of music theory from the point of view of grunge music. Music, in general, is so incredibly versatile with its ability to change one element to change the whole song and its intentions. All of the elements of music are important to delivering the music’s message. So I decided to look at grunge music though four of the elements of music to give an in-depth analysis on how these elements create the grunge sound. I also looked for ways the elements of music tied the whole genre together and gave it its particular sound. Grunge music was a unique genre that popped up as a sub-genera of alternative music, so I wanted to see what made it stand out from the rest. I determined that the genre itself was notable for its emotional connection to the music. The artists took advantage of rhythm, form, dynamics, and harmony to fit their feelings of depression, angst, and anger. Most notable they changed the way chords were heard by distorting the music’s sounds. It created a fuller sound and changed the chord progressions. They were very experimental and passionate about their music and led me to a “pattern” in their music, which was that it had to be full of emotion and it had to have distortion of chords that allowed them to modulate certain notes. I was then able to play off of this pattern to create a satirized guide to creating grunge music. In the future, I would like to see more research done on patterns in grunge music because this music created a generation and still inspires many today. <br />
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=External Links=<br />
[[Grunge in London| Grunge in London]]<br />
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=References=<br />
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[[Category:Music Projects]]<br />
[[Category:2017]]<br />
<br><br></div>Kfconroyhttps://londonhuawiki.wpi.edu/index.php?title=Music_Theory_behind_Grunge_Music&diff=18057Music Theory behind Grunge Music2017-06-21T11:50:00Z<p>Kfconroy: </p>
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by [[User:Kfconroy|Katharine Conory]]<br><br />
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=Abstract=<br />
The objective of this milestone is to take all that I have learned from my Grunge in London Capstone to analysis the music under the lens of music theory. I hope to be able to see what grunge music has to offer by way of harmony, rhythm, dynamics, and form, which are some of the elements of all music. Grunge music was a very special genre in which had a pretty distinct sound and attitude, but no real form to it. So in order to determine if there is a real “formula” to grunge music, a genre of rock, I am distinguishing from the alternative music of that time that did not count under the umbrella of grunge. For my deliverable, I am taking all that I learned from this analysis of grunge music from a music theory background to create my own guide to what a grunge song would contain in the way of harmony, rhythm, dynamics and form with examples of what I would do. <br> <br><br />
For this project, I am drawing back on my past experience with music theory and my violin background. This is slightly challenging due to the fact that harmony for a violin is much simpler for a violin than a guitar. In high school, I took several music classes and was in both chorus and band. I hope to gain more knowledge about music theory and help others understand music as well. <br />
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=Introduction=<br />
This project is meant to introduce those who enjoy music to the music theory or backbone of music that makes it sounds a certain way or gives it a certain emotion. Music is defined by its elements, which allows a certain genre of music sounds different than another. So, I distinguished four important elements of music and did an in-depth analysis of each with a comparison of grunge to popular rock music of that time. From that analysis, I then produced a guide to producing my own gunge song with examples of what I would do. <br> <br><br />
In my research, I found that grunge was more covered as a social and ethical topic with little being covered about the music itself. It was difficult to find much on the elements of music in respect to the grunge genre itself, but I did find some info on it under the umbrella of alternative. I discovered that its sound and style was primarily based off of the music’s harmony with the rhythm, form, and dynamics still very important to its overall sound. But, there was no real pattern to the music. Together in had a unique sound due to the harmonic practices, but what really kept the genre a genre was the music’s attitude and the taboo topics it tried to address. Each artist has its own unique style and sound but they all fell into the same genre. This project needs more research to fully grasp the musical differences between grunge music and the popular rock of the time. <br />
<br><br><br />
<br />
=Section 1: Background=<br />
Grunge was a style choice, a cultural movement and most importantly a music style that appeared in the late 1980’s to the early 1990’s, which songs had focused on topics of a taboo nature such as alienation, depression, and suicide. The movement focused on using their music to enlighten those around them about the problems that they were suffering from, which resonated very well with the youth who were also facing many of those issues. It was very popular and topped many of the more well-known artists. It had a new an appealing sound that differed from the rock and pop music of day. Grunge music is considered to be a sub-genre of rock with heavy overlap with other rock subgenres such as alternative, metal, and punk <ref> STRONG, C. (2016). GRUNGE: music and memory. S.l.: ROUTLEDGE. </ref>.The music contained a dirty and raw sound guitar sound, which gave the genre its name. This music has a significant effect on the culture of the Seattle area where is was started, which is no surprise due to the fact that music has always been a major component of cultural changes in society. There have been many scholarly articles citing its importance and during this time there was a major shift in attitudes towards the world and the people who lived in it, which emphasized the feelings correlated to alienation, depression, and suicide. However one may ask how music, subtracting the lyrics, could evoke such feelings, which in fact brings me to the focus of this capstone; the music theory behind grunge music that gave it its unique sound. <br><br> <br />
The music theory behind grunge music will explain how this music became so unique, but this calls into question of the definition music. In the most literal idea, one can see music as “vibrations in the air that are observed by us and then interpreted as sounds. These sounds play out over time, meaning that music is, therefore, sound over time” <ref> Samama, L., & Clements, D. (2016). What is music? In The Meaning of Music (pp. 27-31). Amsterdam University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/j.ctt1b9x1ts.5</ref>. However, that is way too literal and would infer that all sounds are music like all paintings are works of art. Music is way more sophisticated and can be seen as “multi-dimensional (and a) multimedia phenomenon’’ <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017.</ref>. Therefore music is grouped into seven different elements, which are rhythm, dynamics, melody, harmony, tone color, texture, and form to help identify the key differences between grunge music and say rap. These elements added to the sound and identity of the genre, so much so it stood out from the rest of the alternative genre, which grunge was a subgenre of, during that era. Below I have chosen 4 elements I feel distinguished the grunge genre of from that which was popular during the 1990’s and created the special sound to the music that allowed the artists to express their emotions. <br><br> <br />
<br />
==Musical Elements ==<br />
===Harmony === <br />
<br><br />
Harmony is very important to the creation of music, due to the fact it the way notes are played in relation to each other. This is a very technical and complex element of music that can be fairly hard to understand, so it is important to start at the beginning. There are seven notes in all of the music, not including all of the flats and sharps, A, B, C, D, E, F, G and these are the building blocks on which songs can then be built. The full list of notes which contain all the flats (b) and sharps (#) starting at A is '''A''', A#/Bb, '''B''', C, '''C#/Db''', '''D''', D#/Eb, '''E''', F, '''F#/Gb''', G, '''G#/Ab''', '''A''' and follows a pattern of 2212221, which gives a scale of A major. The pattern is followed by the bolded letters produces A, B, C#, D, E, F#, G#, and A as the A Major Scale. From the scale, one can then produce all of the chords that can be made from that key. A chord is several notes played together to that are separated by thirds, which produce notes that complement each other very well. The chords for an A major key would contain AC#E I (major), BDF# ii (minor), C#EG# iii (minor), DF#A IV (major), EG#B V (major), F#AC# vi (minor), G#BD vii0 (diminished). To form these 3 note chords, one takes the scale and starts at the first note in the scale, which in our case is A. Then, skip the next note, B, and chose C# to do this again for the third and last note of the chord. Your final chord will be AC#E, which is a major chord and they you do it for B, C#, etc. for the rest of the chords until you come back to your original note A. The chords are in a pattern of major, minor, minor, major, major, minor, and diminished, which are shown by the capitalized Roman numerals rather than the lower case ones and the 0 at the end means diminished. Another name this goes by is diatonic harmony and all this is the way notes relate with each other in a certain key. All of this can be replicated for all of the other keys in music to get chords. These chords then can be played in succession after one another and produce a chord progression. Some commonly used chord progressions in the key of A are ADE (I – IV- V) and BEA (ii-V-I). These chords and chord progression are what creates the harmony in the song and they are often used in term of how harsh they sound. The harshness of chords is quantified into dissonance and consonance. Dissonance is a very harsh sounding harmony and its chords known for creating tension in a piece. Consonance is a smooth sounding harmony that creates consonant chords, which resolves tension created by the dissonant chords. Chords are very important to music because it truly creates the mood of the music. More dissonant sounding music sounds almost unstable, eerie and sad. A really good example is Mozart’s Quartetto K. 465 "delle dissonanze". One can hear the very dissonant beginning and then throughout the rest of the piece, one can hear how dissonance is resolved by consonance (The Elements Of Music, 2017, p. 3). <htmltag tagname="iframe" id= width="200" height="150" src="https://www.youtube.com/embed/08uY0-ehL-w" frameborder="0" allowfullscreen></htmltag> <br />
<br><br />
In grunge music, harmony played a large part in creating its aesthetic and sound. This music was very powerful and was known to use “power chords” (McDonald, 2000, p.355) as a “set of harmonic practices that rock musicians, particularly those who participate in the domain of guitar-oriented 'alternative' rock, have been using” (McDonald, 2000, p.355) <ref> McDonald, C. (2000). Exploring modal subversions in alternative music. Popular Music, 19(3), 355-363. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/853641 </ref>. These musicians were trying to break the mold of rock and alternative music so they tried new practices such as distorting the guitar’s sounds and choosing unique chord combinations. An example of this was the change of the power chords, which are normally fifths or fourths (McDonald, 2000, p.356). However, do to the heavy guitar distortion, created by overloading the signal into the amplifier, it created a more complex sound that allowed more sound to come from the notes played. This distortion allowed chords done in thirds to have a richer and fuller sounds and as a byproduct created a very dissonant sound (Biamonte, 2010, p. 97). Another in interesting part to grunge’s harmony was its use of “third or cross relations” (McDonald, 2000, p.357) that allows songs that were written in the key of A major and as we determined before C# would be the C note used, however in grunge music the C would incongruently change a minor third to C5 or Cb. This is what author Chris McDonald calls “modal subversion” (McDonald, 2000, p.357). It used constantly in these songs and an example of it would be in “Smells like Teen Spirit” by Nirvana. In this song the key is in F minor and in that scale A is natural but in “Smells like Teen Spirit” the A modulates to Ab (Osborn, 2013, 31) <ref> Osborn, B. (2013). Subverting the Verse–Chorus paradigm; terminally climactic forms in recent rock music. Music Theory Spectrum, 35(1), 23-47. doi:10.1525/mts.2013.35.1.23 <br />
</ref>. This a common theme in many grunge songs and gives its unique sounds, aesthetic, and emotion. <br />
<br><br><br />
<br />
=== Rhythm ===<br />
<br><br />
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In music, the rhythm of a song is the time in which a song is played. This can be seen when a person is tapping one’s foot to the beat. The rhythm of the song is very important in creating the emotions of the song due to the fact that it determines how fast the piece is going to be. Encompassed in rhythm are sub-topics of duration, tempo, and meter, which helps the listener and musician to follow the structure of the piece. Rhythm tends to be more the technical part of the song but it carries much importance because without it the song would be a mess of lyrics and instruments without direction. So the duration is the length of time between each note and silence. It is used to bring attention to a certain section of the song because a very long note or silence is jarring to the listener. A silence can bring emphasis to the next note and add a complexity to the tempo of the song. The meter of the song is the repetition of accents and stresses that are arranged into the recognizable beat of the song. In a song, the accented notes tend to be the first note of the measure, however, to create more drama many artists utilize syncopation or the putting of accents on off-beats. The meter is emphasized by the song’s tempo or speed at which the beat is played. It is often known as beats per minute (bpm). The tempo of the song determines the level of excitement and mood of the song. It has been said by Gow that “the time-pattern upon his attention must be the excuse for the common conception of rhythm as the emotional element in music” (Gow, 1915, p. 637) or in layman terms. The pattern of sound, silence, and speed adds significantly to the emotions and feeling drawn from the piece so it is imperative that the artist uses the correct rhythm and tempo for the desired effect. An example of this would be how slow blues music tends to be around the 60 bpm and rock and roll music tends to be about 175 bpm. (Gow, 1915, p. 637- 642)<ref> Gow, G. (1915). Rhythm: The Life of Music. The Musical Quarterly, 1(4), 637-652. Retrieved from http://www.jstor.org/stable/738071 </ref> <br />
<br> <br> <br />
Grunge music is all about the aesthetic of the music and many times it is difficult to derive the meaning of the lyrics due to the vocal quality or symbolic meaning of the lyrics. So it’s imperative to set the right tone via the rhythm because without that the song could be changed from a very dark and emotional piece to one that sounds happy and light. Therefore, the duration of the notes and silences have to create drama and angst. The meter must accentuate the right beat and word of the lyrics to make them pop. One consistency round most grunge music is its timed meter, which was 4/4 time or four beats per measure. The emphasis on notes tended to be inconsistent though because it was really dependent on the lyrics. Some songs did use accents of off-beats to draw more attention to one part or another. Meter also creates the structure to the song. Without that the song has very similar and boring notes with no structure. The tempo has to give the song the right attitude. So in grunge music artists wanted a tempo to reflect sadness and depression that they often felt, but they but they wanted to be interesting and attention grabbing. So many artist chooses tempos from around 90-120 (bpm) there was no exact range to the tempos. It was really up to the musician’s ear. However, one can tell that the artist chose the right tempo, if the emotions were portrayed foremost in the music. A good example would be to speed up or slow down a grunge song.<br />
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When that is done, ignoring the higher pitch of Cobain's voice, it is obvious that one will not get the same emphasis on themes of the music leaving the song useless to the artist. The grunge artist needed the aesthetic of angst and pain to drip from the lyrics to get his point across. <br />
<br> <br><br />
<br />
=== Dynamics ===<br />
<br><br />
The dynamics of a song is the loudness and or softness at which the song is played at. A song can be played very loudly, fortissimo, or very softly, pianissimo, and it would create a different interpretation of the song. Some genres of music tend to produce quieter music while others like to blast their audience with their music. An artist can also have a range of volumes with many choosing sections of their song to be quieter to emphasize the words or the music’s complexity and others sections being softer to portray emotions. Sometimes the artist wants to create a buildup of tension in the song so he or she will use a crescendo, getting louder, or a decrescendo, getting softer to achieve it. Another part of dynamics, which was touched on in rhythm, is accenting a note or “leaning into a note” <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017. </ref> and it creates a unique sound. It is important to use dynamics because it keeps the music interesting. A lovely example that many people have probably heard before would be in Richard Strauss's Also Sprach Zarathustra, Op. 30. <br><br />
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It starts our pianissimo and then crescendos to fortissimo until it is absolutely blaring. These dynamics are meant to grab the attention of the audience and awaken anyone who has fallen asleep during the very quiet part. Dynamics are an important part of the music creation process due to the fact that a combination of these dynamics creates the genre's signature style. Hardcore rock is known to bombard their audience with sound while other genres such as country tend to have a moderate volume. <br />
<br><br><br />
Dynamics is another really important element in grunge music because it can be used as an emphasis on particular parts of the song. The song could go from a verse of quiet reflection to a chorus of raging anger. This element is interlinked with all of the other elements to create the song the way that artist meant to portray it. Many of the grunge artists use dynamics to emphasize the themes of the song. So while many songs of the grunge genre do tend to vacillate between very loud and quiet, not every song does. It all depends on the themes and emotions of the songs. An example of the differences would be comparing the dynamics of Black Hole Sun by Soundgarden and Glycerine by Bush. They are both classified under the genre of grunge music, but they have totally different dynamics. In Black Hole Sun, the first verse starts out pretty quiet to emphasize the almost euphoric nature of words and the invisibility the singer feels. Then in the chorus, there is a large increase in volume which tries to capture the anger and pain of his invisibility. However, in Glycerine, the verse starts out pretty quiet and has a mournful tone and it crescendos ever so slightly into the chorus which is still mournful plus a bit remorseful also. The dynamics are used in grunge as an emphasis on certain feelings and emotions and though some do have a pattern of a quite verse and loud chorus some use other dynamics to get their point across. <br />
<br><br><br />
=== Form ===<br />
<br><br />
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In music, the element of form is a combination of the repetition, contrast, and continuity that creates a song’s uniqueness. The form is very dependent on the other elements of music because it is the way the music is arranged. There is a mixture of musical ideas that are carefully arranged to create the meaning behind the music, which is illustrated when the chorus, speaking both lyrically and instrumentally, is repeated. To differentiate the diversions in music, letters such as A, B, C, are used. This is used determine the slight variation in musical patterns. Repetition is often utilized in form to set the theme of the song. This is seen when the chorus is repeated or the verse lyrics change and music stays the same. Repetition in music is known to create continuity and is usually done with a catchy chorus. Contrarily when there is a change or contrast in music, it is often used to note a shift in mood. The form includes a myriad of types including strophic, binary, verse/chorus song, and ternary forms. These types of forms are derived from the repetition, contrast, and continuity referred to previously. The strophic form is when the same music is repeated over and over for several verses of music. This is the most basic form, which lacks contrast and is all repetition. The message the song is trying to portray is usually very elementary. In the binary form, there are two parts. It uses contrast to highlight the question answer music phrasing between the similar phrasing contrasting section. A combination between the binary and strophic forms is the Verse/ Chorus Song form. It alternates between the storytelling verses, which contain different lyrics each verse, and the recurring chorus. <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017</ref>. It creates the feeling of familiarity and allows for many ideas and feelings to be told and then reiterated in the chorus, which is very important in grunge music. The last form being covered is the ternary from. It is a three-part form that has a repletion of the first verse, with different lyrics, which then processes to the chorus and returns back to the theme of the first verse. The form is very diverse in music and can evoke different emotions. So one can see how important it is to grunge music because of its ability to highlight the different parts of the song through repetition, contrast, and continuity. <br />
<br><br><br />
Grunge music is primarily about emotions and social issues that plagued many of the youth during that time, so it is very important to have the music bring attention to these issues through the phrasing of the chorus and verses. Songs In the 1990’s many rock songs followed a verse-chorus form, which Brad Osborn likes to call the “verse-chorus paradigm” (Osborn, 2013, p. 23). <ref> Osborn, B. (2013). Subverting the Verse–Chorus Paradigm: Terminally Climactic Forms in Recent Rock Music. Music Theory Spectrum, 35(1), 23-47. doi:10.1525/mts.2013.35.1.23 </ref> or in less layman terms a verse-chorus pattern. Osborn then quotes John Covach who says “In a verse-chorus [form]...the focus of the song is squarely on the chorus...[T]he verses serve primarily to prepare the return of the chorus’’ (Osborn, 2013, p. 23) and this makes the song sound like it’s using the chorus as the main bringer of emotion to the song. Many grunge songs, due to the fact that they are part of the rock genre, did use this form. It allowed many of the emotions of the first verse to be realized and then an overall feeling of dissatisfaction to be released about these feelings. This can especially be seen in “Heart-Shaped Box” by Nirvana, which starts with verse 1 <div style="text-align: center;"> She eyes me like a Pisces when I am weak <br><br />
I've been locked inside your heart-shaped box for weeks <br><br />
I've been drawn into your magnetar pit trap trap <br><br />
I wish I could eat your cancer when you turn black<ref> https://play.google.com/music/preview/Ttdyvwmcelupwuxwf6fsabw2qwq?lyrics=1&utm_source=google&utm_medium=search&utm_campaign=lyrics&pcampaignid=kp-lyrics </ref> </div><br>. The music plays on the use of the verse-chorus form to highlight the emotions of feeling trapped and helpless, which are then built on during the chorus <div style="text-align: center;"> Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice <br><br />
Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice<br><br />
Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice, your advice<ref> https://play.google.com/music/preview/Ttdyvwmcelupwuxwf6fsabw2qwq?lyrics=1&utm_source=google&utm_medium=search&utm_campaign=lyrics&pcampaignid=kp-lyrics </ref> </div><br>. The chorus is emphasizing the trapped feeling the singer is feeling, which he compares to debt. He feels that he is ever in debt and trapped. The next verse, which is musically a mirror of the first verse, but the lyrics speak of the great helpless he feels. This form allows great emphasis on the chorus and it also climaxes at the end when the last chorus is repeated. However, not every grunge song contained this form. In Glycerine by Bush, the song has a much different form, but still allows the emotions of sorrow and regret be portrayed to the audience. <br />
It’s all about the emotions being reached. They did not need to use this form to release and tell all of the audience their problems. It can be reached just as well with other songs <br />
<br><br><br />
<br />
== Musical analysis of songs ==<br />
<br><br />
Taking what has been learned about harmony, rhythm, dynamics, and form and its importance to grunge music now lets look at some songs created in the "grunge" music style. Find out more about grunge music and its history [[Grunge in London|here]]. <br />
<br><br><br />
{| class="wikitable" width="80%"<br />
|-<br />
! scope="row"| Grunge Music of the Late 1980's - Mid 1990's<br />
|-<br />
! Musical Elements <br />
! Heart Shaped Box <br />
! Black Hole Sun <br />
! Creep<br />
! Glycerine <br />
! Man in the Box<br />
|-<br />
! scope="row"| Artist <br />
| align="center"| Nirvana <br />
| align="center"| Soundgarden <br />
| align="center"| Radiohead<br />
| align="center"| Bush <br />
| align="center"| Alice in Chains <br />
|-<br />
! scope="row"| Rhythm<br />
| align="center"| <br />
* Time Signature: 4/4<br />
*Tempo: Moderately (108 - 120 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: 120 bpm<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: (90-93 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: Moderately (112-116 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: Moderately (107-109 bpm)<br />
|-<br />
! scope="row"| Harmony<br />
| align="center"| <br />
* Key: A minor<br />
*Major Chords: A5, F5, D5/ A, F5, D7<br />
*Chord Progressions: A5, F5, D5, A, D7<br />
| align="center"|<br />
* Key: F major<br />
*Major Chords: Gsus, G6, Bb6, F5, Em<br />
| align="center"|<br />
* Key: G major<br />
*Major Chords: G, B, C, Cm<br />
*Chord Progressions: G, B, C, Cm<br />
| align="center"|<br />
* Key: F major<br />
*Major Chords: F, C5, D5, Bb5<br />
*Chord Progressions: F, C5, D5, Bb5<br />
| align="center"|<br />
* Key: E minor <br />
* Major Chords: Em, E5, G, D, A<br />
*Chord Progressions: G5 G6 G5 G6 C E5<br />
|-<br />
! scope="row"| Dynamics <br />
| align="center"| <br />
*quite verse and roaring chorus <br />
| align="center"|<br />
*quite verse and roaring chorus <br />
| align="center"|<br />
*quite verse and roaring chorus <br />
*crescendo to chorus <br />
*decrescendo to verse <br />
| align="center"|<br />
*quite crescendo loud moderate level<br />
| align="center"|<br />
*moderate <br />
|-<br />
! scope="row"| Form <br />
| align="center"| <br />
*verse/chorus song form <br />
| align="center"|<br />
*verse/chorus song form <br />
| align="center"|<br />
*verse/chorus song form<br />
| align="center"|<br />
* verse/chorus/ bridge form <br />
| align="center"|<br />
*ABABB Form <br />
|- <br />
|}<br />
<br />
=Section 2: Elements of Writing a Grunge Song=<br />
<br><br />
<br />
[[File: ProjectPicture.jpg|x320px|right|thumb| Additional Image]]<br><br />
So now that we have a solid understanding of what the harmony, rhythm, dynamics, and form are and how they are used in grunge music, we are now ready to write a song that emphasises the true elements of grunge music. Here we are going step by step to identify how to create one of these grunge songs. If one is not familiar with a lot of grunge music, I would suggest looking at my page [[Grunge in London| Grunge in London]]. That page will give you more background and information about the grunge era with some of its iconic songs from artists both from America and London. <br />
<br><br><br />
<br />
=== Rhythm ===<br />
<br><br />
...use as many subsections or main sections as you need to support the claims for why what you did related to your ''Background'' section...<br />
<br><br><br />
=== Harmony ===<br />
<br><br />
...use as many subsections or main sections as you need to support the claims for why what you did related to your ''Background'' section...<br />
<br><br><br />
<br />
=== Dynamics ===<br />
<br><br />
...and so on and so forth...<br />
<br><br><br />
<br />
=== Form ===<br />
<br><br />
...and so on and so forth...<br />
<br><br><br />
<br />
=Conclusion=<br />
<br><br />
In this section, provide a summary or recap of your work, as well as potential areas of further inquiry (for yourself, future students, or other researchers). <br />
<br><br><br />
<br />
=External Links=<br />
[[Grunge in London| Grunge in London]]<br />
<br><br><br />
<br />
=References=<br />
<br />
[[Category:Music Projects]]<br />
[[Category:2017]]<br />
<br><br></div>Kfconroyhttps://londonhuawiki.wpi.edu/index.php?title=Music_Theory_behind_Grunge_Music&diff=18041Music Theory behind Grunge Music2017-06-21T11:44:32Z<p>Kfconroy: </p>
<hr />
<div><br />
by [[User:Kfconroy|Katharine Conory]]<br><br />
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<br />
=Abstract=<br />
The objective of this milestone is to take all that I have learned from my Grunge in London Capstone to analysis the music under the lens of music theory. I hope to be able to see what grunge music has to offer by way of harmony, rhythm, dynamics, and form, which are some of the elements of all music. Grunge music was a very special genre in which had a pretty distinct sound and attitude, but no real form to it. So in order to determine if there is a real “formula” to grunge music, a genre of rock, I am distinguishing from the alternative music of that time that did not count under the umbrella of grunge. For my deliverable, I am taking all that I learned from this analysis of grunge music from a music theory background to create my own guide to what a grunge song would contain in the way of harmony, rhythm, dynamics and form with examples of what I would do. <br> <br><br />
For this project, I am drawing back on my past experience with music theory and my violin background. This is slightly challenging due to the fact that harmony for a violin is much simpler for a violin than a guitar. In high school, I took several music classes and was in both chorus and band. I hope to gain more knowledge about music theory and help others understand music as well. <br />
<br><br><br />
<br />
=Introduction=<br />
This project is meant to introduce those who enjoy music to the music theory or backbone of music that makes it sounds a certain way or gives it a certain emotion. Music is defined by its elements, which allows a certain genre of music sounds different than another. So, I distinguished four important elements of music and did an in-depth analysis of each with a comparison of grunge to popular rock music of that time. From that analysis, I then produced a guide to producing my own gunge song with examples of what I would do. <br> <br><br />
In my research, I found that grunge was more covered as a social and ethical topic with little being covered about the music itself. It was difficult to find much on the elements of music in respect to the grunge genre itself, but I did find some info on it under the umbrella of alternative. I discovered that its sound and style was primarily based off of the music’s harmony with the rhythm, form, and dynamics still very important to its overall sound. But, there was no real pattern to the music. Together in had a unique sound due to the harmonic practices, but what really kept the genre a genre was the music’s attitude and the taboo topics it tried to address. Each artist has its own unique style and sound but they all fell into the same genre. This project needs more research to fully grasp the musical differences between grunge music and the popular rock of the time. <br />
<br><br><br />
<br />
=Section 1: Background=<br />
Grunge was a style choice, a cultural movement and most importantly a music style that appeared in the late 1980’s to the early 1990’s, which songs had focused on topics of a taboo nature such as alienation, depression, and suicide. The movement focused on using their music to enlighten those around them about the problems that they were suffering from, which resonated very well with the youth who were also facing many of those issues. It was very popular and topped many of the more well-known artists. It had a new an appealing sound that differed from the rock and pop music of day. Grunge music is considered to be a sub-genre of rock with heavy overlap with other rock subgenres such as alternative, metal, and punk <ref> STRONG, C. (2016). GRUNGE: music and memory. S.l.: ROUTLEDGE. </ref>.The music contained a dirty and raw sound guitar sound, which gave the genre its name. This music has a significant effect on the culture of the Seattle area where is was started, which is no surprise due to the fact that music has always been a major component of cultural changes in society. There have been many scholarly articles citing its importance and during this time there was a major shift in attitudes towards the world and the people who lived in it, which emphasized the feelings correlated to alienation, depression, and suicide. However one may ask how music, subtracting the lyrics, could evoke such feelings, which in fact brings me to the focus of this capstone; the music theory behind grunge music that gave it its unique sound. <br><br> <br />
The music theory behind grunge music will explain how this music became so unique, but this calls into question of the definition music. In the most literal idea, one can see music as “vibrations in the air that are observed by us and then interpreted as sounds. These sounds play out over time, meaning that music is, therefore, sound over time” <ref> Samama, L., & Clements, D. (2016). What is music? In The Meaning of Music (pp. 27-31). Amsterdam University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/j.ctt1b9x1ts.5</ref>. However, that is way too literal and would infer that all sounds are music like all paintings are works of art. Music is way more sophisticated and can be seen as “multi-dimensional (and a) multimedia phenomenon’’ <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017.</ref>. Therefore music is grouped into seven different elements, which are rhythm, dynamics, melody, harmony, tone color, texture, and form to help identify the key differences between grunge music and say rap. These elements added to the sound and identity of the genre, so much so it stood out from the rest of the alternative genre, which grunge was a subgenre of, during that era. Below I have chosen 4 elements I feel distinguished the grunge genre of from that which was popular during the 1990’s and created the special sound to the music that allowed the artists to express their emotions. <br><br> <br />
<br />
==Musical Elements ==<br />
===Harmony === <br />
<br><br />
Harmony is very important to the creation of music, due to the fact it the way notes are played in relation to each other. This is a very technical and complex element of music that can be fairly hard to understand, so it is important to start at the beginning. There are seven notes in all of the music, not including all of the flats and sharps, A, B, C, D, E, F, G and these are the building blocks on which songs can then be built. The full list of notes which contain all the flats (b) and sharps (#) starting at A is '''A''', A#/Bb, '''B''', C, '''C#/Db''', '''D''', D#/Eb, '''E''', F, '''F#/Gb''', G, '''G#/Ab''', '''A''' and follows a pattern of 2212221, which gives a scale of A major. The pattern is followed by the bolded letters produces A, B, C#, D, E, F#, G#, and A as the A Major Scale. From the scale, one can then produce all of the chords that can be made from that key. A chord is several notes played together to that are separated by thirds, which produce notes that complement each other very well. The chords for an A major key would contain AC#E I (major), BDF# ii (minor), C#EG# iii (minor), DF#A IV (major), EG#B V (major), F#AC# vi (minor), G#BD vii0 (diminished). To form these 3 note chords, one takes the scale and starts at the first note in the scale, which in our case is A. Then, skip the next note, B, and chose C# to do this again for the third and last note of the chord. Your final chord will be AC#E, which is a major chord and they you do it for B, C#, etc. for the rest of the chords until you come back to your original note A. The chords are in a pattern of major, minor, minor, major, major, minor, and diminished, which are shown by the capitalized Roman numerals rather than the lower case ones and the 0 at the end means diminished. Another name this goes by is diatonic harmony and all this is the way notes relate with each other in a certain key. All of this can be replicated for all of the other keys in music to get chords. These chords then can be played in succession after one another and produce a chord progression. Some commonly used chord progressions in the key of A are ADE (I – IV- V) and BEA (ii-V-I). These chords and chord progression are what creates the harmony in the song and they are often used in term of how harsh they sound. The harshness of chords is quantified into dissonance and consonance. Dissonance is a very harsh sounding harmony and its chords known for creating tension in a piece. Consonance is a smooth sounding harmony that creates consonant chords, which resolves tension created by the dissonant chords. Chords are very important to music because it truly creates the mood of the music. More dissonant sounding music sounds almost unstable, eerie and sad. A really good example is Mozart’s Quartetto K. 465 "delle dissonanze". One can hear the very dissonant beginning and then throughout the rest of the piece, one can hear how dissonance is resolved by consonance (The Elements Of Music, 2017, p. 3). <htmltag tagname="iframe" id= width="200" height="150" src="https://www.youtube.com/embed/08uY0-ehL-w" frameborder="0" allowfullscreen></htmltag> <br />
<br><br />
In grunge music, harmony played a large part in creating its aesthetic and sound. This music was very powerful and was known to use “power chords” (McDonald, 2000, p.355) as a “set of harmonic practices that rock musicians, particularly those who participate in the domain of guitar-oriented 'alternative' rock, have been using” (McDonald, 2000, p.355) <ref> McDonald, C. (2000). Exploring modal subversions in alternative music. Popular Music, 19(3), 355-363. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/853641 </ref>. These musicians were trying to break the mold of rock and alternative music so they tried new practices such as distorting the guitar’s sounds and choosing unique chord combinations. An example of this was the change of the power chords, which are normally fifths or fourths (McDonald, 2000, p.356). However, do to the heavy guitar distortion, created by overloading the signal into the amplifier, it created a more complex sound that allowed more sound to come from the notes played. This distortion allowed chords done in thirds to have a richer and fuller sounds and as a byproduct created a very dissonant sound (Biamonte, 2010, p. 97). Another in interesting part to grunge’s harmony was its use of “third or cross relations” (McDonald, 2000, p.357) that allows songs that were written in the key of A major and as we determined before C# would be the C note used, however in grunge music the C would incongruently change a minor third to C5 or Cb. This is what author Chris McDonald calls “modal subversion” (McDonald, 2000, p.357). It used constantly in these songs and an example of it would be in “Smells like Teen Spirit” by Nirvana. In this song the key is in F minor and in that scale A is natural but in “Smells like Teen Spirit” the A modulates to Ab (Osborn, 2013, 31) <ref> Osborn, B. (2013). Subverting the Verse–Chorus paradigm; terminally climactic forms in recent rock music. Music Theory Spectrum, 35(1), 23-47. doi:10.1525/mts.2013.35.1.23 <br />
</ref>. This a common theme in many grunge songs and gives its unique sounds, aesthetic, and emotion. <br />
<br><br><br />
<br />
=== Rhythm ===<br />
<br><br />
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In music, the rhythm of a song is the time in which a song is played. This can be seen when a person is tapping one’s foot to the beat. The rhythm of the song is very important in creating the emotions of the song due to the fact that it determines how fast the piece is going to be. Encompassed in rhythm are sub-topics of duration, tempo, and meter, which helps the listener and musician to follow the structure of the piece. Rhythm tends to be more the technical part of the song but it carries much importance because without it the song would be a mess of lyrics and instruments without direction. So the duration is the length of time between each note and silence. It is used to bring attention to a certain section of the song because a very long note or silence is jarring to the listener. A silence can bring emphasis to the next note and add a complexity to the tempo of the song. The meter of the song is the repetition of accents and stresses that are arranged into the recognizable beat of the song. In a song, the accented notes tend to be the first note of the measure, however, to create more drama many artists utilize syncopation or the putting of accents on off-beats. The meter is emphasized by the song’s tempo or speed at which the beat is played. It is often known as beats per minute (bpm). The tempo of the song determines the level of excitement and mood of the song. It has been said by Gow that “the time-pattern upon his attention must be the excuse for the common conception of rhythm as the emotional element in music” (Gow, 1915, p. 637) or in layman terms. The pattern of sound, silence, and speed adds significantly to the emotions and feeling drawn from the piece so it is imperative that the artist uses the correct rhythm and tempo for the desired effect. An example of this would be how slow blues music tends to be around the 60 bpm and rock and roll music tends to be about 175 bpm. (Gow, 1915, p. 637- 642)<ref> Gow, G. (1915). Rhythm: The Life of Music. The Musical Quarterly, 1(4), 637-652. Retrieved from http://www.jstor.org/stable/738071 </ref> <br />
<br> <br> <br />
Grunge music is all about the aesthetic of the music and many times it is difficult to derive the meaning of the lyrics due to the vocal quality or symbolic meaning of the lyrics. So it’s imperative to set the right tone via the rhythm because without that the song could be changed from a very dark and emotional piece to one that sounds happy and light. Therefore, the duration of the notes and silences have to create drama and angst. The meter must accentuate the right beat and word of the lyrics to make them pop. One consistency round most grunge music is its timed meter, which was 4/4 time or four beats per measure. The emphasis on notes tended to be inconsistent though because it was really dependent on the lyrics. Some songs did use accents of off-beats to draw more attention to one part or another. Meter also creates the structure to the song. Without that the song has very similar and boring notes with no structure. The tempo has to give the song the right attitude. So in grunge music artists wanted a tempo to reflect sadness and depression that they often felt, but they but they wanted to be interesting and attention grabbing. So many artist chooses tempos from around 90-120 (bpm) there was no exact range to the tempos. It was really up to the musician’s ear. However, one can tell that the artist chose the right tempo, if the emotions were portrayed foremost in the music. A good example would be to speed up or slow down a grunge song.<br />
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When that is done, ignoring the higher pitch of Cobain's voice, it is obvious that one will not get the same emphasis on themes of the music leaving the song useless to the artist. The grunge artist needed the aesthetic of angst and pain to drip from the lyrics to get his point across. <br />
<br> <br><br />
<br />
=== Dynamics ===<br />
<br><br />
The dynamics of a song is the loudness and or softness at which the song is played at. A song can be played very loudly, fortissimo, or very softly, pianissimo, and it would create a different interpretation of the song. Some genres of music tend to produce quieter music while others like to blast their audience with their music. An artist can also have a range of volumes with many choosing sections of their song to be quieter to emphasize the words or the music’s complexity and others sections being softer to portray emotions. Sometimes the artist wants to create a buildup of tension in the song so he or she will use a crescendo, getting louder, or a decrescendo, getting softer to achieve it. Another part of dynamics, which was touched on in rhythm, is accenting a note or “leaning into a note” <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017. </ref> and it creates a unique sound. It is important to use dynamics because it keeps the music interesting. A lovely example that many people have probably heard before would be in Richard Strauss's Also Sprach Zarathustra, Op. 30. <br><br />
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It starts our pianissimo and then crescendos to fortissimo until it is absolutely blaring. These dynamics are meant to grab the attention of the audience and awaken anyone who has fallen asleep during the very quiet part. Dynamics are an important part of the music creation process due to the fact that a combination of these dynamics creates the genre's signature style. Hardcore rock is known to bombard their audience with sound while other genres such as country tend to have a moderate volume. <br />
<br><br><br />
Dynamics is another really important element in grunge music because it can be used as an emphasis on particular parts of the song. The song could go from a verse of quiet reflection to a chorus of raging anger. This element is interlinked with all of the other elements to create the song the way that artist meant to portray it. Many of the grunge artists use dynamics to emphasize the themes of the song. So while many songs of the grunge genre do tend to vacillate between very loud and quiet, not every song does. It all depends on the themes and emotions of the songs. An example of the differences would be comparing the dynamics of Black Hole Sun by Soundgarden and Glycerine by Bush. They are both classified under the genre of grunge music, but they have totally different dynamics. In Black Hole Sun, the first verse starts out pretty quiet to emphasize the almost euphoric nature of words and the invisibility the singer feels. Then in the chorus, there is a large increase in volume which tries to capture the anger and pain of his invisibility. However, in Glycerine, the verse starts out pretty quiet and has a mournful tone and it crescendos ever so slightly into the chorus which is still mournful plus a bit remorseful also. The dynamics are used in grunge as an emphasis on certain feelings and emotions and though some do have a pattern of a quite verse and loud chorus some use other dynamics to get their point across. <br />
<br><br><br />
=== Form ===<br />
<br><br />
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In music, the element of form is a combination of the repetition, contrast, and continuity that creates a song’s uniqueness. The form is very dependent on the other elements of music because it is the way the music is arranged. There is a mixture of musical ideas that are carefully arranged to create the meaning behind the music, which is illustrated when the chorus, speaking both lyrically and instrumentally, is repeated. To differentiate the diversions in music, letters such as A, B, C, are used. This is used determine the slight variation in musical patterns. Repetition is often utilized in form to set the theme of the song. This is seen when the chorus is repeated or the verse lyrics change and music stays the same. Repetition in music is known to create continuity and is usually done with a catchy chorus. Contrarily when there is a change or contrast in music, it is often used to note a shift in mood. The form includes a myriad of types including strophic, binary, verse/chorus song, and ternary forms. These types of forms are derived from the repetition, contrast, and continuity referred to previously. The strophic form is when the same music is repeated over and over for several verses of music. This is the most basic form, which lacks contrast and is all repetition. The message the song is trying to portray is usually very elementary. In the binary form, there are two parts. It uses contrast to highlight the question answer music phrasing between the similar phrasing contrasting section. A combination between the binary and strophic forms is the Verse/ Chorus Song form. It alternates between the storytelling verses, which contain different lyrics each verse, and the recurring chorus. <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017</ref>. It creates the feeling of familiarity and allows for many ideas and feelings to be told and then reiterated in the chorus, which is very important in grunge music. The last form being covered is the ternary from. It is a three-part form that has a repletion of the first verse, with different lyrics, which then processes to the chorus and returns back to the theme of the first verse. The form is very diverse in music and can evoke different emotions. So one can see how important it is to grunge music because of its ability to highlight the different parts of the song through repetition, contrast, and continuity. <br />
<br><br><br />
Grunge music is primarily about emotions and social issues that plagued many of the youth during that time, so it is very important to have the music bring attention to these issues through the phrasing of the chorus and verses. Songs In the 1990’s many rock songs followed a verse-chorus form, which Brad Osborn likes to call the “verse-chorus paradigm” (Osborn, 2013, p. 23). <ref> Osborn, B. (2013). Subverting the Verse–Chorus Paradigm: Terminally Climactic Forms in Recent Rock Music. Music Theory Spectrum, 35(1), 23-47. doi:10.1525/mts.2013.35.1.23 </ref> or in less layman terms a verse-chorus pattern. Osborn then quotes John Covach who says “In a verse-chorus [form]...the focus of the song is squarely on the chorus...[T]he verses serve primarily to prepare the return of the chorus’’ (Osborn, 2013, p. 23) and this makes the song sound like it’s using the chorus as the main bringer of emotion to the song. Many grunge songs, due to the fact that they are part of the rock genre, did use this form. It allowed many of the emotions of the first verse to be realized and then an overall feeling of dissatisfaction to be released about these feelings. This can especially be seen in “Heart-Shaped Box” by Nirvana, which starts with verse 1 <div style="text-align: center;"> She eyes me like a Pisces when I am weak <br><br />
I've been locked inside your heart-shaped box for weeks <br><br />
I've been drawn into your magnetar pit trap trap <br><br />
I wish I could eat your cancer when you turn black<ref> https://play.google.com/music/preview/Ttdyvwmcelupwuxwf6fsabw2qwq?lyrics=1&utm_source=google&utm_medium=search&utm_campaign=lyrics&pcampaignid=kp-lyrics </ref> </div><br>. The music plays on the use of the verse-chorus form to highlight the emotions of feeling trapped and helpless, which are then built on during the chorus <div style="text-align: center;"> Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice <br><br />
Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice<br><br />
Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice, your advice<ref> https://play.google.com/music/preview/Ttdyvwmcelupwuxwf6fsabw2qwq?lyrics=1&utm_source=google&utm_medium=search&utm_campaign=lyrics&pcampaignid=kp-lyrics </ref> </div><br>. The chorus is emphasizing the trapped feeling the singer is feeling, which he compares to debt. He feels that he is ever in debt and trapped. The next verse, which is musically a mirror of the first verse, but the lyrics speak of the great helpless he feels. This form allows great emphasis on the chorus and it also climaxes at the end when the last chorus is repeated. However, not every grunge song contained this form. In Glycerine by Bush, the song has a much different form, but still allows the emotions of sorrow and regret be portrayed to the audience. <br />
It’s all about the emotions being reached. They did not need to use this form to release and tell all of the audience their problems. It can be reached just as well with other songs <br />
<br><br><br />
<br />
== Musical analysis of songs ==<br />
<br><br />
Taking what has been learned about harmony, rhythm, dynamics, and form and its importance to grunge music now lets look at some songs created in the "grunge" music style. Find out more about grunge music and its history [[Grunge in London|here]]. <br />
<br><br><br />
{| class="wikitable" width="80%"<br />
|-<br />
! scope="row"| Grunge Music of the Late 1980's - Mid 1990's<br />
|-<br />
! Musical Elements <br />
! Heart Shaped Box <br />
! Black Hole Sun <br />
! Creep<br />
! Glycerine <br />
! Man in the Box<br />
|-<br />
! scope="row"| Artist <br />
| align="center"| Nirvana <br />
| align="center"| Soundgarden <br />
| align="center"| Radiohead<br />
| align="center"| Bush <br />
| align="center"| Alice in Chains <br />
|-<br />
! scope="row"| Rhythm<br />
| align="center"| <br />
* Time Signature: 4/4<br />
*Tempo: Moderately (108 - 120 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: 120 bpm<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: (90-93 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: Moderately (112-116 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: Moderately (107-109 bpm)<br />
|-<br />
! scope="row"| Harmony<br />
| align="center"| <br />
* Key: A minor<br />
*Major Chords: A5, F5, D5/ A, F5, D7<br />
*Chord Progressions: A5, F5, D5, A, D7<br />
| align="center"|<br />
* Key: F major<br />
*Major Chords: Gsus, G6, Bb6, F5, Em<br />
| align="center"|<br />
* Key: G major<br />
*Major Chords: G, B, C, Cm<br />
*Chord Progressions: G, B, C, Cm<br />
| align="center"|<br />
* Key: F major<br />
*Major Chords: F, C5, D5, Bb5<br />
*Chord Progressions: F, C5, D5, Bb5<br />
| align="center"|<br />
* Key: E minor <br />
* Major Chords: Em, E5, G, D, A<br />
*Chord Progressions: G5 G6 G5 G6 C E5<br />
|-<br />
! scope="row"| Dynamics <br />
| align="center"| <br />
*quite verse and roaring chorus <br />
| align="center"|<br />
*quite verse and roaring chorus <br />
| align="center"|<br />
*quite verse and roaring chorus <br />
*crescendo to chorus <br />
*decrescendo to verse <br />
| align="center"|<br />
*quite crescendo loud moderate level<br />
| align="center"|<br />
*moderate <br />
|-<br />
! scope="row"| Form <br />
| align="center"| <br />
*verse/chorus song form <br />
| align="center"|<br />
*verse/chorus song form <br />
| align="center"|<br />
*verse/chorus song form<br />
| align="center"|<br />
* verse/chorus/ bridge form <br />
| align="center"|<br />
*ABABB Form <br />
|- <br />
|}<br />
<br />
=Section 2: Elements of Writing a Grunge Song=<br />
<br><br />
<br />
[[File: ProjectPicture.jpg|x320px|right|thumb| Additional Image]]<br><br />
So now that we have a solid understanding of what the harmony, rhythm, dynamics, and form are and how they are used in grunge music, we are now ready to write a song that emphasises the true elements of grunge music. Here we are going step by step to identify how to create one of these grunge songs. If one is not familiar with a lot of grunge music, I would suggest looking at my page [[Grunge in London| Grunge in London]]. That page will give you more background and information about the grunge era with some of its iconic songs from artists both from America and London. <br />
<br><br><br />
<br />
=== Rhythm ===<br />
<br><br />
...use as many subsections or main sections as you need to support the claims for why what you did related to your ''Background'' section...<br />
<br><br><br />
=== Harmony ===<br />
<br><br />
...use as many subsections or main sections as you need to support the claims for why what you did related to your ''Background'' section...<br />
<br><br><br />
<br />
=== Dynamics ===<br />
<br><br />
...and so on and so forth...<br />
<br><br><br />
<br />
=== Form ===<br />
<br><br />
...and so on and so forth...<br />
<br><br><br />
<br />
=Conclusion=<br />
<br><br />
In this section, provide a summary or recap of your work, as well as potential areas of further inquiry (for yourself, future students, or other researchers). <br />
<br><br><br />
<br />
=External Links=<br />
[[Grunge in London| Grunge in London]]<br />
<br><br><br />
<br />
=References=<br />
<br />
[[Category:Music Projects]]<br />
[[Category:2017]]<br />
<br><br></div>Kfconroyhttps://londonhuawiki.wpi.edu/index.php?title=Music_Theory_behind_Grunge_Music&diff=18039Music Theory behind Grunge Music2017-06-21T11:43:56Z<p>Kfconroy: </p>
<hr />
<div><br />
by [[User:Kfconroy|Katharine Conory]]<br><br />
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<br />
=Abstract=<br />
The objective of this milestone is to take all that I have learned from my Grunge in London Capstone to analysis the music under the lens of music theory. I hope to be able to see what grunge music has to offer by way of harmony, rhythm, dynamics, and form, which are some of the elements of all music. Grunge music was a very special genre in which had a pretty distinct sound and attitude, but no real form to it. So in order to determine if there is a real “formula” to grunge music, a genre of rock, I am distinguishing from the alternative music of that time that did not count under the umbrella of grunge. For my deliverable, I am taking all that I learned from this analysis of grunge music from a music theory background to create my own guide to what a grunge song would contain in the way of harmony, rhythm, dynamics and form with examples of what I would do. <br> <br><br />
For this project, I am drawing back on my past experience with music theory and my violin background. This is slightly challenging due to the fact that harmony for a violin is much simpler for a violin than a guitar. In high school, I took several music classes and was in both chorus and band. I hope to gain more knowledge about music theory and help others understand music as well. <br />
<br><br><br />
<br />
=Introduction=<br />
This project is meant to introduce those who enjoy music to the music theory or backbone of music that makes it sounds a certain way or gives it a certain emotion. Music is defined by its elements, which allows a certain genre of music sounds different than another. So, I distinguished four important elements of music and did an in-depth analysis of each with a comparison of grunge to popular rock music of that time. From that analysis, I then produced a guide to producing my own gunge song with examples of what I would do. <br> <br><br />
In my research, I found that grunge was more covered as a social and ethical topic with little being covered about the music itself. It was difficult to find much on the elements of music in respect to the grunge genre itself, but I did find some info on it under the umbrella of alternative. I discovered that its sound and style was primarily based off of the music’s harmony with the rhythm, form, and dynamics still very important to its overall sound. But, there was no real pattern to the music. Together in had a unique sound due to the harmonic practices, but what really kept the genre a genre was the music’s attitude and the taboo topics it tried to address. Each artist has its own unique style and sound but they all fell into the same genre. This project needs more research to fully grasp the musical differences between grunge music and the popular rock of the time. <br />
<br><br><br />
<br />
=Section 1: Background=<br />
Grunge was a style choice, a cultural movement and most importantly a music style that appeared in the late 1980’s to the early 1990’s, which songs had focused on topics of a taboo nature such as alienation, depression, and suicide. The movement focused on using their music to enlighten those around them about the problems that they were suffering from, which resonated very well with the youth who were also facing many of those issues. It was very popular and topped many of the more well-known artists. It had a new an appealing sound that differed from the rock and pop music of day. Grunge music is considered to be a sub-genre of rock with heavy overlap with other rock subgenres such as alternative, metal, and punk <ref> STRONG, C. (2016). GRUNGE: music and memory. S.l.: ROUTLEDGE. </ref>.The music contained a dirty and raw sound guitar sound, which gave the genre its name. This music has a significant effect on the culture of the Seattle area where is was started, which is no surprise due to the fact that music has always been a major component of cultural changes in society. There have been many scholarly articles citing its importance and during this time there was a major shift in attitudes towards the world and the people who lived in it, which emphasized the feelings correlated to alienation, depression, and suicide. However one may ask how music, subtracting the lyrics, could evoke such feelings, which in fact brings me to the focus of this capstone; the music theory behind grunge music that gave it its unique sound. <br><br> <br />
The music theory behind grunge music will explain how this music became so unique, but this calls into question of the definition music. In the most literal idea, one can see music as “vibrations in the air that are observed by us and then interpreted as sounds. These sounds play out over time, meaning that music is, therefore, sound over time” <ref> Samama, L., & Clements, D. (2016). What is music? In The Meaning of Music (pp. 27-31). Amsterdam University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/j.ctt1b9x1ts.5</ref>. However, that is way too literal and would infer that all sounds are music like all paintings are works of art. Music is way more sophisticated and can be seen as “multi-dimensional (and a) multimedia phenomenon’’ <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017.</ref>. Therefore music is grouped into seven different elements, which are rhythm, dynamics, melody, harmony, tone color, texture, and form to help identify the key differences between grunge music and say rap. These elements added to the sound and identity of the genre, so much so it stood out from the rest of the alternative genre, which grunge was a subgenre of, during that era. Below I have chosen 4 elements I feel distinguished the grunge genre of from that which was popular during the 1990’s and created the special sound to the music that allowed the artists to express their emotions. <br><br> <br />
<br />
==Musical Elements ==<br />
===Harmony === <br />
<br><br />
Harmony is very important to the creation of music, due to the fact it the way notes are played in relation to each other. This is a very technical and complex element of music that can be fairly hard to understand, so it is important to start at the beginning. There are seven notes in all of the music, not including all of the flats and sharps, A, B, C, D, E, F, G and these are the building blocks on which songs can then be built. The full list of notes which contain all the flats (b) and sharps (#) starting at A is '''A''', A#/Bb, '''B''', C, '''C#/Db''', '''D''', D#/Eb, '''E''', F, '''F#/Gb''', G, '''G#/Ab''', '''A''' and follows a pattern of 2212221, which gives a scale of A major. The pattern is followed by the bolded letters produces A, B, C#, D, E, F#, G#, and A as the A Major Scale. From the scale, one can then produce all of the chords that can be made from that key. A chord is several notes played together to that are separated by thirds, which produce notes that complement each other very well. The chords for an A major key would contain AC#E I (major), BDF# ii (minor), C#EG# iii (minor), DF#A IV (major), EG#B V (major), F#AC# vi (minor), G#BD vii0 (diminished). To form these 3 note chords, one takes the scale and starts at the first note in the scale, which in our case is A. Then, skip the next note, B, and chose C# to do this again for the third and last note of the chord. Your final chord will be AC#E, which is a major chord and they you do it for B, C#, etc. for the rest of the chords until you come back to your original note A. The chords are in a pattern of major, minor, minor, major, major, minor, and diminished, which are shown by the capitalized Roman numerals rather than the lower case ones and the 0 at the end means diminished. Another name this goes by is diatonic harmony and all this is the way notes relate with each other in a certain key. All of this can be replicated for all of the other keys in music to get chords. These chords then can be played in succession after one another and produce a chord progression. Some commonly used chord progressions in the key of A are ADE (I – IV- V) and BEA (ii-V-I). These chords and chord progression are what creates the harmony in the song and they are often used in term of how harsh they sound. The harshness of chords is quantified into dissonance and consonance. Dissonance is a very harsh sounding harmony and its chords known for creating tension in a piece. Consonance is a smooth sounding harmony that creates consonant chords, which resolves tension created by the dissonant chords. Chords are very important to music because it truly creates the mood of the music. More dissonant sounding music sounds almost unstable, eerie and sad. A really good example is Mozart’s Quartetto K. 465 "delle dissonanze". One can hear the very dissonant beginning and then throughout the rest of the piece, one can hear how dissonance is resolved by consonance (The Elements Of Music, 2017, p. 3). <htmltag tagname="iframe" id= width="200" height="150" src="https://www.youtube.com/embed/08uY0-ehL-w" frameborder="0" allowfullscreen></htmltag> <br />
<br><br />
In grunge music, harmony played a large part in creating its aesthetic and sound. This music was very powerful and was known to use “power chords” (McDonald, 2000, p.355) as a “set of harmonic practices that rock musicians, particularly those who participate in the domain of guitar-oriented 'alternative' rock, have been using” (McDonald, 2000, p.355) <ref> McDonald, C. (2000). Exploring modal subversions in alternative music. Popular Music, 19(3), 355-363. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/853641 </ref>. These musicians were trying to break the mold of rock and alternative music so they tried new practices such as distorting the guitar’s sounds and choosing unique chord combinations. An example of this was the change of the power chords, which are normally fifths or fourths (McDonald, 2000, p.356). However, do to the heavy guitar distortion, created by overloading the signal into the amplifier, it created a more complex sound that allowed more sound to come from the notes played. This distortion allowed chords done in thirds to have a richer and fuller sounds and as a byproduct created a very dissonant sound (Biamonte, 2010, p. 97). Another in interesting part to grunge’s harmony was its use of “third or cross relations” (McDonald, 2000, p.357) that allows songs that were written in the key of A major and as we determined before C# would be the C note used, however in grunge music the C would incongruently change a minor third to C5 or Cb. This is what author Chris McDonald calls “modal subversion” (McDonald, 2000, p.357). It used constantly in these songs and an example of it would be in “Smells like Teen Spirit” by Nirvana. In this song the key is in F minor and in that scale A is natural but in “Smells like Teen Spirit” the A modulates to Ab (Osborn, 2013, 31) <ref> Osborn, B. (2013). Subverting the Verse–Chorus paradigm; terminally climactic forms in recent rock music. Music Theory Spectrum, 35(1), 23-47. doi:10.1525/mts.2013.35.1.23 <br />
</ref>. This a common theme in many grunge songs and gives its unique sounds, aesthetic, and emotion. <br />
<br><br><br />
<br />
=== Rhythm ===<br />
<br><br />
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In music, the rhythm of a song is the time in which a song is played. This can be seen when a person is tapping one’s foot to the beat. The rhythm of the song is very important in creating the emotions of the song due to the fact that it determines how fast the piece is going to be. Encompassed in rhythm are sub-topics of duration, tempo, and meter, which helps the listener and musician to follow the structure of the piece. Rhythm tends to be more the technical part of the song but it carries much importance because without it the song would be a mess of lyrics and instruments without direction. So the duration is the length of time between each note and silence. It is used to bring attention to a certain section of the song because a very long note or silence is jarring to the listener. A silence can bring emphasis to the next note and add a complexity to the tempo of the song. The meter of the song is the repetition of accents and stresses that are arranged into the recognizable beat of the song. In a song, the accented notes tend to be the first note of the measure, however, to create more drama many artists utilize syncopation or the putting of accents on off-beats. The meter is emphasized by the song’s tempo or speed at which the beat is played. It is often known as beats per minute (bpm). The tempo of the song determines the level of excitement and mood of the song. It has been said by Gow that “the time-pattern upon his attention must be the excuse for the common conception of rhythm as the emotional element in music” (Gow, 1915, p. 637) or in layman terms. The pattern of sound, silence, and speed adds significantly to the emotions and feeling drawn from the piece so it is imperative that the artist uses the correct rhythm and tempo for the desired effect. An example of this would be how slow blues music tends to be around the 60 bpm and rock and roll music tends to be about 175 bpm. (Gow, 1915, p. 637- 642)<ref> Gow, G. (1915). Rhythm: The Life of Music. The Musical Quarterly, 1(4), 637-652. Retrieved from http://www.jstor.org/stable/738071 </ref> <br />
<br> <br> <br />
Grunge music is all about the aesthetic of the music and many times it is difficult to derive the meaning of the lyrics due to the vocal quality or symbolic meaning of the lyrics. So it’s imperative to set the right tone via the rhythm because without that the song could be changed from a very dark and emotional piece to one that sounds happy and light. Therefore, the duration of the notes and silences have to create drama and angst. The meter must accentuate the right beat and word of the lyrics to make them pop. One consistency round most grunge music is its timed meter, which was 4/4 time or four beats per measure. The emphasis on notes tended to be inconsistent though because it was really dependent on the lyrics. Some songs did use accents of off-beats to draw more attention to one part or another. Meter also creates the structure to the song. Without that the song has very similar and boring notes with no structure. The tempo has to give the song the right attitude. So in grunge music artists wanted a tempo to reflect sadness and depression that they often felt, but they but they wanted to be interesting and attention grabbing. So many artist chooses tempos from around 90-120 (bpm) there was no exact range to the tempos. It was really up to the musician’s ear. However, one can tell that the artist chose the right tempo, if the emotions were portrayed foremost in the music. A good example would be to speed up or slow down a grunge song.<br />
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When that is done, ignoring the higher pitch of Cobain's voice, it is obvious that one will not get the same emphasis on themes of the music leaving the song useless to the artist. The grunge artist needed the aesthetic of angst and pain to drip from the lyrics to get his point across. <br />
<br> <br><br />
<br />
=== Dynamics ===<br />
<br><br />
The dynamics of a song is the loudness and or softness at which the song is played at. A song can be played very loudly, fortissimo, or very softly, pianissimo, and it would create a different interpretation of the song. Some genres of music tend to produce quieter music while others like to blast their audience with their music. An artist can also have a range of volumes with many choosing sections of their song to be quieter to emphasize the words or the music’s complexity and others sections being softer to portray emotions. Sometimes the artist wants to create a buildup of tension in the song so he or she will use a crescendo, getting louder, or a decrescendo, getting softer to achieve it. Another part of dynamics, which was touched on in rhythm, is accenting a note or “leaning into a note” <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017. </ref> and it creates a unique sound. It is important to use dynamics because it keeps the music interesting. A lovely example that many people have probably heard before would be in Richard Strauss's Also Sprach Zarathustra, Op. 30. <br><br />
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It starts our pianissimo and then crescendos to fortissimo until it is absolutely blaring. These dynamics are meant to grab the attention of the audience and awaken anyone who has fallen asleep during the very quiet part. Dynamics are an important part of the music creation process due to the fact that a combination of these dynamics creates the genre's signature style. Hardcore rock is known to bombard their audience with sound while other genres such as country tend to have a moderate volume. <br />
<br><br><br />
Dynamics is another really important element in grunge music because it can be used as an emphasis on particular parts of the song. The song could go from a verse of quiet reflection to a chorus of raging anger. This element is interlinked with all of the other elements to create the song the way that artist meant to portray it. Many of the grunge artists use dynamics to emphasize the themes of the song. So while many songs of the grunge genre do tend to vacillate between very loud and quiet, not every song does. It all depends on the themes and emotions of the songs. An example of the differences would be comparing the dynamics of Black Hole Sun by Soundgarden and Glycerine by Bush. They are both classified under the genre of grunge music, but they have totally different dynamics. In Black Hole Sun, the first verse starts out pretty quiet to emphasize the almost euphoric nature of words and the invisibility the singer feels. Then in the chorus, there is a large increase in volume which tries to capture the anger and pain of his invisibility. However, in Glycerine, the verse starts out pretty quiet and has a mournful tone and it crescendos ever so slightly into the chorus which is still mournful plus a bit remorseful also. The dynamics are used in grunge as an emphasis on certain feelings and emotions and though some do have a pattern of a quite verse and loud chorus some use other dynamics to get their point across. <br />
<br><br><br />
=== Form ===<br />
<br><br />
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In music, the element of form is a combination of the repetition, contrast, and continuity that creates a song’s uniqueness. The form is very dependent on the other elements of music because it is the way the music is arranged. There is a mixture of musical ideas that are carefully arranged to create the meaning behind the music, which is illustrated when the chorus, speaking both lyrically and instrumentally, is repeated. To differentiate the diversions in music, letters such as A, B, C, are used. This is used determine the slight variation in musical patterns. Repetition is often utilized in form to set the theme of the song. This is seen when the chorus is repeated or the verse lyrics change and music stays the same. Repetition in music is known to create continuity and is usually done with a catchy chorus. Contrarily when there is a change or contrast in music, it is often used to note a shift in mood. The form includes a myriad of types including strophic, binary, verse/chorus song, and ternary forms. These types of forms are derived from the repetition, contrast, and continuity referred to previously. The strophic form is when the same music is repeated over and over for several verses of music. This is the most basic form, which lacks contrast and is all repetition. The message the song is trying to portray is usually very elementary. In the binary form, there are two parts. It uses contrast to highlight the question answer music phrasing between the similar phrasing contrasting section. A combination between the binary and strophic forms is the Verse/ Chorus Song form. It alternates between the storytelling verses, which contain different lyrics each verse, and the recurring chorus. <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017</ref>. It creates the feeling of familiarity and allows for many ideas and feelings to be told and then reiterated in the chorus, which is very important in grunge music. The last form being covered is the ternary from. It is a three-part form that has a repletion of the first verse, with different lyrics, which then processes to the chorus and returns back to the theme of the first verse. The form is very diverse in music and can evoke different emotions. So one can see how important it is to grunge music because of its ability to highlight the different parts of the song through repetition, contrast, and continuity. <br />
<br><br><br />
Grunge music is primarily about emotions and social issues that plagued many of the youth during that time, so it is very important to have the music bring attention to these issues through the phrasing of the chorus and verses. Songs In the 1990’s many rock songs followed a verse-chorus form, which Brad Osborn likes to call the “verse-chorus paradigm” (Osborn, 2013, p. 23). <ref> Osborn, B. (2013). Subverting the Verse–Chorus Paradigm: Terminally Climactic Forms in Recent Rock Music. Music Theory Spectrum, 35(1), 23-47. doi:10.1525/mts.2013.35.1.23 </ref> or in less layman terms a verse-chorus pattern. Osborn then quotes John Covach who says “In a verse-chorus [form]...the focus of the song is squarely on the chorus...[T]he verses serve primarily to prepare the return of the chorus’’ (Osborn, 2013, p. 23) and this makes the song sound like it’s using the chorus as the main bringer of emotion to the song. Many grunge songs, due to the fact that they are part of the rock genre, did use this form. It allowed many of the emotions of the first verse to be realized and then an overall feeling of dissatisfaction to be released about these feelings. This can especially be seen in “Heart-Shaped Box” by Nirvana, which starts with verse 1 <div style="text-align: center;"> She eyes me like a Pisces when I am weak <br><br />
I've been locked inside your heart-shaped box for weeks <br><br />
I've been drawn into your magnetar pit trap trap <br><br />
I wish I could eat your cancer when you turn black<ref> https://play.google.com/music/preview/Ttdyvwmcelupwuxwf6fsabw2qwq?lyrics=1&utm_source=google&utm_medium=search&utm_campaign=lyrics&pcampaignid=kp-lyrics </ref> </div><br>. The music plays on the use of the verse-chorus form to highlight the emotions of feeling trapped and helpless, which are then built on during the chorus <div style="text-align: center;"> Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice <br><br />
Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice<br><br />
Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice, your advice<ref> https://play.google.com/music/preview/Ttdyvwmcelupwuxwf6fsabw2qwq?lyrics=1&utm_source=google&utm_medium=search&utm_campaign=lyrics&pcampaignid=kp-lyrics </ref> </div><br>. The chorus is emphasizing the trapped feeling the singer is feeling, which he compares to debt. He feels that he is ever in debt and trapped. The next verse, which is musically a mirror of the first verse, but the lyrics speak of the great helpless he feels. This form allows great emphasis on the chorus and it also climaxes at the end when the last chorus is repeated. However, not every grunge song contained this form. In Glycerine by Bush, the song has a much different form, but still allows the emotions of sorrow and regret be portrayed to the audience. <br />
It’s all about the emotions being reached. They did not need to use this form to release and tell all of the audience their problems. It can be reached just as well with other songs <br />
<br><br><br />
<br />
== Musical analysis of songs ==<br />
<br><br />
Taking what has been learned about harmony, rhythm, dynamics, and form and its importance to grunge music now lets look at some songs created in the "grunge" music style. Find out more about grunge music and its history [[Grunge in London|here]]. <br />
<br><br><br />
{| class="wikitable" width="80%"<br />
|-<br />
! scope="row"| Grunge Music of the Late 1980's - Mid 1990's<br />
|-<br />
! Musical Elements <br />
! Heart Shaped Box <br />
! Black Hole Sun <br />
! Creep<br />
! Glycerine <br />
! Man in the Box<br />
|-<br />
! scope="row"| Artist <br />
| align="center"| Nirvana <br />
| align="center"| Soundgarden <br />
| align="center"| Radiohead<br />
| align="center"| Bush <br />
| align="center"| Alice in Chains <br />
|-<br />
! scope="row"| Rhythm<br />
| align="center"| <br />
* Time Signature: 4/4<br />
*Tempo: Moderately (108 - 120 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: 120 bpm<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: (90-93 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: Moderately (112-116 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: Moderately (107-109 bpm)<br />
|-<br />
! scope="row"| Harmony<br />
| align="center"| <br />
* Key: A minor<br />
*Major Chords: A5, F5, D5/ A, F5, D7<br />
*Chord Progressions: A5, F5, D5, A, D7<br />
| align="center"|<br />
* Key: F major<br />
*Major Chords: Gsus, G6, Bb6, F5, Em<br />
| align="center"|<br />
* Key: G major<br />
*Major Chords: G, B, C, Cm<br />
*Chord Progressions: G, B, C, Cm<br />
| align="center"|<br />
* Key: F major<br />
*Major Chords: F, C5, D5, Bb5<br />
*Chord Progressions: F, C5, D5, Bb5<br />
| align="center"|<br />
* Key: E minor <br />
* Major Chords: Em, E5, G, D, A<br />
*Chord Progressions: G5 G6 G5 G6 C E5<br />
|-<br />
! scope="row"| Dynamics <br />
| align="center"| <br />
*quite verse and roaring chorus <br />
| align="center"|<br />
*quite verse and roaring chorus <br />
| align="center"|<br />
*quite verse and roaring chorus <br />
*crescendo to chorus <br />
*decrescendo to verse <br />
| align="center"|<br />
*quite crescendo loud moderate level<br />
| align="center"|<br />
*moderate <br />
|-<br />
! scope="row"| Form <br />
| align="center"| <br />
*verse/chorus song form <br />
| align="center"|<br />
*verse/chorus song form <br />
| align="center"|<br />
*verse/chorus song form<br />
| align="center"|<br />
* verse/chorus/ bridge form <br />
| align="center"|<br />
*ABABB Form <br />
|- <br />
|}<br />
<br />
=Section 2: Elements to writing a grunge song=<br />
<br><br />
<br />
[[File: ProjectPicture.jpg|x320px|right|thumb| Additional Image]]<br><br />
So now that we have a solid understanding of what the harmony, rhythm, dynamics, and form are and how they are used in grunge music, we are now ready to write a song that emphasises the true elements of grunge music. Here we are going step by step to identify how to create one of these grunge songs. If one is not familiar with a lot of grunge music, I would suggest looking at my page [[Grunge in London| Grunge in London]]. That page will give you more background and information about the grunge era with some of its iconic songs from artists both from America and London. <br />
<br><br><br />
<br />
=== Rhythm ===<br />
<br><br />
...use as many subsections or main sections as you need to support the claims for why what you did related to your ''Background'' section...<br />
<br><br><br />
=== Harmony ===<br />
<br><br />
...use as many subsections or main sections as you need to support the claims for why what you did related to your ''Background'' section...<br />
<br><br><br />
<br />
=== Dynamics ===<br />
<br><br />
...and so on and so forth...<br />
<br><br><br />
<br />
=== Form ===<br />
<br><br />
...and so on and so forth...<br />
<br><br><br />
<br />
=Conclusion=<br />
<br><br />
In this section, provide a summary or recap of your work, as well as potential areas of further inquiry (for yourself, future students, or other researchers). <br />
<br><br><br />
<br />
=External Links=<br />
[[Grunge in London| Grunge in London]]<br />
<br><br><br />
<br />
=References=<br />
<br />
[[Category:Music Projects]]<br />
[[Category:2017]]<br />
<br><br></div>Kfconroyhttps://londonhuawiki.wpi.edu/index.php?title=Music_Theory_behind_Grunge_Music&diff=18035Music Theory behind Grunge Music2017-06-21T11:42:21Z<p>Kfconroy: </p>
<hr />
<div><br />
by [[User:Kfconroy|Katharine Conory]]<br><br />
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<br />
=Abstract=<br />
The objective of this milestone is to take all that I have learned from my Grunge in London Capstone to analysis the music under the lens of music theory. I hope to be able to see what grunge music has to offer by way of harmony, rhythm, dynamics, and form, which are some of the elements of all music. Grunge music was a very special genre in which had a pretty distinct sound and attitude, but no real form to it. So in order to determine if there is a real “formula” to grunge music, a genre of rock, I am distinguishing from the alternative music of that time that did not count under the umbrella of grunge. For my deliverable, I am taking all that I learned from this analysis of grunge music from a music theory background to create my own guide to what a grunge song would contain in the way of harmony, rhythm, dynamics and form with examples of what I would do. <br> <br><br />
For this project, I am drawing back on my past experience with music theory and my violin background. This is slightly challenging due to the fact that harmony for a violin is much simpler for a violin than a guitar. In high school, I took several music classes and was in both chorus and band. I hope to gain more knowledge about music theory and help others understand music as well. <br />
<br><br><br />
<br />
=Introduction=<br />
This project is meant to introduce those who enjoy music to the music theory or backbone of music that makes it sounds a certain way or gives it a certain emotion. Music is defined by its elements, which allows a certain genre of music sounds different than another. So, I distinguished four important elements of music and did an in-depth analysis of each with a comparison of grunge to popular rock music of that time. From that analysis, I then produced a guide to producing my own gunge song with examples of what I would do. <br> <br><br />
In my research, I found that grunge was more covered as a social and ethical topic with little being covered about the music itself. It was difficult to find much on the elements of music in respect to the grunge genre itself, but I did find some info on it under the umbrella of alternative. I discovered that its sound and style was primarily based off of the music’s harmony with the rhythm, form, and dynamics still very important to its overall sound. But, there was no real pattern to the music. Together in had a unique sound due to the harmonic practices, but what really kept the genre a genre was the music’s attitude and the taboo topics it tried to address. Each artist has its own unique style and sound but they all fell into the same genre. This project needs more research to fully grasp the musical differences between grunge music and the popular rock of the time. <br />
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<br />
=Section 1: Background=<br />
Grunge was a style choice, a cultural movement and most importantly a music style that appeared in the late 1980’s to the early 1990’s, which songs had focused on topics of a taboo nature such as alienation, depression, and suicide. The movement focused on using their music to enlighten those around them about the problems that they were suffering from, which resonated very well with the youth who were also facing many of those issues. It was very popular and topped many of the more well-known artists. It had a new an appealing sound that differed from the rock and pop music of day. Grunge music is considered to be a sub-genre of rock with heavy overlap with other rock subgenres such as alternative, metal, and punk <ref> STRONG, C. (2016). GRUNGE: music and memory. S.l.: ROUTLEDGE. </ref>.The music contained a dirty and raw sound guitar sound, which gave the genre its name. This music has a significant effect on the culture of the Seattle area where is was started, which is no surprise due to the fact that music has always been a major component of cultural changes in society. There have been many scholarly articles citing its importance and during this time there was a major shift in attitudes towards the world and the people who lived in it, which emphasized the feelings correlated to alienation, depression, and suicide. However one may ask how music, subtracting the lyrics, could evoke such feelings, which in fact brings me to the focus of this capstone; the music theory behind grunge music that gave it its unique sound. <br><br> <br />
The music theory behind grunge music will explain how this music became so unique, but this calls into question of the definition music. In the most literal idea, one can see music as “vibrations in the air that are observed by us and then interpreted as sounds. These sounds play out over time, meaning that music is, therefore, sound over time” <ref> Samama, L., & Clements, D. (2016). What is music? In The Meaning of Music (pp. 27-31). Amsterdam University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/j.ctt1b9x1ts.5</ref>. However, that is way too literal and would infer that all sounds are music like all paintings are works of art. Music is way more sophisticated and can be seen as “multi-dimensional (and a) multimedia phenomenon’’ <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017.</ref>. Therefore music is grouped into seven different elements, which are rhythm, dynamics, melody, harmony, tone color, texture, and form to help identify the key differences between grunge music and say rap. These elements added to the sound and identity of the genre, so much so it stood out from the rest of the alternative genre, which grunge was a subgenre of, during that era. Below I have chosen 4 elements I feel distinguished the grunge genre of from that which was popular during the 1990’s and created the special sound to the music that allowed the artists to express their emotions. <br><br> <br />
<br />
==Musical Elements ==<br />
===Harmony === <br />
<br><br />
Harmony is very important to the creation of music, due to the fact it the way notes are played in relation to each other. This is a very technical and complex element of music that can be fairly hard to understand, so it is important to start at the beginning. There are seven notes in all of the music, not including all of the flats and sharps, A, B, C, D, E, F, G and these are the building blocks on which songs can then be built. The full list of notes which contain all the flats (b) and sharps (#) starting at A is '''A''', A#/Bb, '''B''', C, '''C#/Db''', '''D''', D#/Eb, '''E''', F, '''F#/Gb''', G, '''G#/Ab''', '''A''' and follows a pattern of 2212221, which gives a scale of A major. The pattern is followed by the bolded letters produces A, B, C#, D, E, F#, G#, and A as the A Major Scale. From the scale, one can then produce all of the chords that can be made from that key. A chord is several notes played together to that are separated by thirds, which produce notes that complement each other very well. The chords for an A major key would contain AC#E I (major), BDF# ii (minor), C#EG# iii (minor), DF#A IV (major), EG#B V (major), F#AC# vi (minor), G#BD vii0 (diminished). To form these 3 note chords, one takes the scale and starts at the first note in the scale, which in our case is A. Then, skip the next note, B, and chose C# to do this again for the third and last note of the chord. Your final chord will be AC#E, which is a major chord and they you do it for B, C#, etc. for the rest of the chords until you come back to your original note A. The chords are in a pattern of major, minor, minor, major, major, minor, and diminished, which are shown by the capitalized Roman numerals rather than the lower case ones and the 0 at the end means diminished. Another name this goes by is diatonic harmony and all this is the way notes relate with each other in a certain key. All of this can be replicated for all of the other keys in music to get chords. These chords then can be played in succession after one another and produce a chord progression. Some commonly used chord progressions in the key of A are ADE (I – IV- V) and BEA (ii-V-I). These chords and chord progression are what creates the harmony in the song and they are often used in term of how harsh they sound. The harshness of chords is quantified into dissonance and consonance. Dissonance is a very harsh sounding harmony and its chords known for creating tension in a piece. Consonance is a smooth sounding harmony that creates consonant chords, which resolves tension created by the dissonant chords. Chords are very important to music because it truly creates the mood of the music. More dissonant sounding music sounds almost unstable, eerie and sad. A really good example is Mozart’s Quartetto K. 465 "delle dissonanze". One can hear the very dissonant beginning and then throughout the rest of the piece, one can hear how dissonance is resolved by consonance (The Elements Of Music, 2017, p. 3). <htmltag tagname="iframe" id= width="200" height="150" src="https://www.youtube.com/embed/08uY0-ehL-w" frameborder="0" allowfullscreen></htmltag> <br />
<br><br />
In grunge music, harmony played a large part in creating its aesthetic and sound. This music was very powerful and was known to use “power chords” (McDonald, 2000, p.355) as a “set of harmonic practices that rock musicians, particularly those who participate in the domain of guitar-oriented 'alternative' rock, have been using” (McDonald, 2000, p.355) <ref> McDonald, C. (2000). Exploring modal subversions in alternative music. Popular Music, 19(3), 355-363. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/853641 </ref>. These musicians were trying to break the mold of rock and alternative music so they tried new practices such as distorting the guitar’s sounds and choosing unique chord combinations. An example of this was the change of the power chords, which are normally fifths or fourths (McDonald, 2000, p.356). However, do to the heavy guitar distortion, created by overloading the signal into the amplifier, it created a more complex sound that allowed more sound to come from the notes played. This distortion allowed chords done in thirds to have a richer and fuller sounds and as a byproduct created a very dissonant sound (Biamonte, 2010, p. 97). Another in interesting part to grunge’s harmony was its use of “third or cross relations” (McDonald, 2000, p.357) that allows songs that were written in the key of A major and as we determined before C# would be the C note used, however in grunge music the C would incongruently change a minor third to C5 or Cb. This is what author Chris McDonald calls “modal subversion” (McDonald, 2000, p.357). It used constantly in these songs and an example of it would be in “Smells like Teen Spirit” by Nirvana. In this song the key is in F minor and in that scale A is natural but in “Smells like Teen Spirit” the A modulates to Ab (Osborn, 2013, 31) <ref> Osborn, B. (2013). Subverting the Verse–Chorus paradigm; terminally climactic forms in recent rock music. Music Theory Spectrum, 35(1), 23-47. doi:10.1525/mts.2013.35.1.23 <br />
</ref>. This a common theme in many grunge songs and gives its unique sounds, aesthetic, and emotion. <br />
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<br />
=== Rhythm ===<br />
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In music, the rhythm of a song is the time in which a song is played. This can be seen when a person is tapping one’s foot to the beat. The rhythm of the song is very important in creating the emotions of the song due to the fact that it determines how fast the piece is going to be. Encompassed in rhythm are sub-topics of duration, tempo, and meter, which helps the listener and musician to follow the structure of the piece. Rhythm tends to be more the technical part of the song but it carries much importance because without it the song would be a mess of lyrics and instruments without direction. So the duration is the length of time between each note and silence. It is used to bring attention to a certain section of the song because a very long note or silence is jarring to the listener. A silence can bring emphasis to the next note and add a complexity to the tempo of the song. The meter of the song is the repetition of accents and stresses that are arranged into the recognizable beat of the song. In a song, the accented notes tend to be the first note of the measure, however, to create more drama many artists utilize syncopation or the putting of accents on off-beats. The meter is emphasized by the song’s tempo or speed at which the beat is played. It is often known as beats per minute (bpm). The tempo of the song determines the level of excitement and mood of the song. It has been said by Gow that “the time-pattern upon his attention must be the excuse for the common conception of rhythm as the emotional element in music” (Gow, 1915, p. 637) or in layman terms. The pattern of sound, silence, and speed adds significantly to the emotions and feeling drawn from the piece so it is imperative that the artist uses the correct rhythm and tempo for the desired effect. An example of this would be how slow blues music tends to be around the 60 bpm and rock and roll music tends to be about 175 bpm. (Gow, 1915, p. 637- 642)<ref> Gow, G. (1915). Rhythm: The Life of Music. The Musical Quarterly, 1(4), 637-652. Retrieved from http://www.jstor.org/stable/738071 </ref> <br />
<br> <br> <br />
Grunge music is all about the aesthetic of the music and many times it is difficult to derive the meaning of the lyrics due to the vocal quality or symbolic meaning of the lyrics. So it’s imperative to set the right tone via the rhythm because without that the song could be changed from a very dark and emotional piece to one that sounds happy and light. Therefore, the duration of the notes and silences have to create drama and angst. The meter must accentuate the right beat and word of the lyrics to make them pop. One consistency round most grunge music is its timed meter, which was 4/4 time or four beats per measure. The emphasis on notes tended to be inconsistent though because it was really dependent on the lyrics. Some songs did use accents of off-beats to draw more attention to one part or another. Meter also creates the structure to the song. Without that the song has very similar and boring notes with no structure. The tempo has to give the song the right attitude. So in grunge music artists wanted a tempo to reflect sadness and depression that they often felt, but they but they wanted to be interesting and attention grabbing. So many artist chooses tempos from around 90-120 (bpm) there was no exact range to the tempos. It was really up to the musician’s ear. However, one can tell that the artist chose the right tempo, if the emotions were portrayed foremost in the music. A good example would be to speed up or slow down a grunge song.<br />
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When that is done, ignoring the higher pitch of Cobain's voice, it is obvious that one will not get the same emphasis on themes of the music leaving the song useless to the artist. The grunge artist needed the aesthetic of angst and pain to drip from the lyrics to get his point across. <br />
<br> <br><br />
<br />
=== Dynamics ===<br />
<br><br />
The dynamics of a song is the loudness and or softness at which the song is played at. A song can be played very loudly, fortissimo, or very softly, pianissimo, and it would create a different interpretation of the song. Some genres of music tend to produce quieter music while others like to blast their audience with their music. An artist can also have a range of volumes with many choosing sections of their song to be quieter to emphasize the words or the music’s complexity and others sections being softer to portray emotions. Sometimes the artist wants to create a buildup of tension in the song so he or she will use a crescendo, getting louder, or a decrescendo, getting softer to achieve it. Another part of dynamics, which was touched on in rhythm, is accenting a note or “leaning into a note” <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017. </ref> and it creates a unique sound. It is important to use dynamics because it keeps the music interesting. A lovely example that many people have probably heard before would be in Richard Strauss's Also Sprach Zarathustra, Op. 30. <br><br />
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It starts our pianissimo and then crescendos to fortissimo until it is absolutely blaring. These dynamics are meant to grab the attention of the audience and awaken anyone who has fallen asleep during the very quiet part. Dynamics are an important part of the music creation process due to the fact that a combination of these dynamics creates the genre's signature style. Hardcore rock is known to bombard their audience with sound while other genres such as country tend to have a moderate volume. <br />
<br><br><br />
Dynamics is another really important element in grunge music because it can be used as an emphasis on particular parts of the song. The song could go from a verse of quiet reflection to a chorus of raging anger. This element is interlinked with all of the other elements to create the song the way that artist meant to portray it. Many of the grunge artists use dynamics to emphasize the themes of the song. So while many songs of the grunge genre do tend to vacillate between very loud and quiet, not every song does. It all depends on the themes and emotions of the songs. An example of the differences would be comparing the dynamics of Black Hole Sun by Soundgarden and Glycerine by Bush. They are both classified under the genre of grunge music, but they have totally different dynamics. In Black Hole Sun, the first verse starts out pretty quiet to emphasize the almost euphoric nature of words and the invisibility the singer feels. Then in the chorus, there is a large increase in volume which tries to capture the anger and pain of his invisibility. However, in Glycerine, the verse starts out pretty quiet and has a mournful tone and it crescendos ever so slightly into the chorus which is still mournful plus a bit remorseful also. The dynamics are used in grunge as an emphasis on certain feelings and emotions and though some do have a pattern of a quite verse and loud chorus some use other dynamics to get their point across. <br />
<br><br><br />
=== Form ===<br />
<br><br />
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In music, the element of form is a combination of the repetition, contrast, and continuity that creates a song’s uniqueness. The form is very dependent on the other elements of music because it is the way the music is arranged. There is a mixture of musical ideas that are carefully arranged to create the meaning behind the music, which is illustrated when the chorus, speaking both lyrically and instrumentally, is repeated. To differentiate the diversions in music, letters such as A, B, C, are used. This is used determine the slight variation in musical patterns. Repetition is often utilized in form to set the theme of the song. This is seen when the chorus is repeated or the verse lyrics change and music stays the same. Repetition in music is known to create continuity and is usually done with a catchy chorus. Contrarily when there is a change or contrast in music, it is often used to note a shift in mood. The form includes a myriad of types including strophic, binary, verse/chorus song, and ternary forms. These types of forms are derived from the repetition, contrast, and continuity referred to previously. The strophic form is when the same music is repeated over and over for several verses of music. This is the most basic form, which lacks contrast and is all repetition. The message the song is trying to portray is usually very elementary. In the binary form, there are two parts. It uses contrast to highlight the question answer music phrasing between the similar phrasing contrasting section. A combination between the binary and strophic forms is the Verse/ Chorus Song form. It alternates between the storytelling verses, which contain different lyrics each verse, and the recurring chorus. <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017</ref>. It creates the feeling of familiarity and allows for many ideas and feelings to be told and then reiterated in the chorus, which is very important in grunge music. The last form being covered is the ternary from. It is a three-part form that has a repletion of the first verse, with different lyrics, which then processes to the chorus and returns back to the theme of the first verse. The form is very diverse in music and can evoke different emotions. So one can see how important it is to grunge music because of its ability to highlight the different parts of the song through repetition, contrast, and continuity. <br />
<br><br><br />
Grunge music is primarily about emotions and social issues that plagued many of the youth during that time, so it is very important to have the music bring attention to these issues through the phrasing of the chorus and verses. Songs In the 1990’s many rock songs followed a verse-chorus form, which Brad Osborn likes to call the “verse-chorus paradigm” (Osborn, 2013, p. 23). <ref> Osborn, B. (2013). Subverting the Verse–Chorus Paradigm: Terminally Climactic Forms in Recent Rock Music. Music Theory Spectrum, 35(1), 23-47. doi:10.1525/mts.2013.35.1.23 </ref> or in less layman terms a verse-chorus pattern. Osborn then quotes John Covach who says “In a verse-chorus [form]...the focus of the song is squarely on the chorus...[T]he verses serve primarily to prepare the return of the chorus’’ (Osborn, 2013, p. 23) and this makes the song sound like it’s using the chorus as the main bringer of emotion to the song. Many grunge songs, due to the fact that they are part of the rock genre, did use this form. It allowed many of the emotions of the first verse to be realized and then an overall feeling of dissatisfaction to be released about these feelings. This can especially be seen in “Heart-Shaped Box” by Nirvana, which starts with verse 1 <div style="text-align: center;"> She eyes me like a Pisces when I am weak <br><br />
I've been locked inside your heart-shaped box for weeks <br><br />
I've been drawn into your magnetar pit trap trap <br><br />
I wish I could eat your cancer when you turn black<ref> https://play.google.com/music/preview/Ttdyvwmcelupwuxwf6fsabw2qwq?lyrics=1&utm_source=google&utm_medium=search&utm_campaign=lyrics&pcampaignid=kp-lyrics </ref> </div><br>. The music plays on the use of the verse-chorus form to highlight the emotions of feeling trapped and helpless, which are then built on during the chorus <div style="text-align: center;"> Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice <br><br />
Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice<br><br />
Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice, your advice<ref> https://play.google.com/music/preview/Ttdyvwmcelupwuxwf6fsabw2qwq?lyrics=1&utm_source=google&utm_medium=search&utm_campaign=lyrics&pcampaignid=kp-lyrics </ref> </div><br>. The chorus is emphasizing the trapped feeling the singer is feeling, which he compares to debt. He feels that he is ever in debt and trapped. The next verse, which is musically a mirror of the first verse, but the lyrics speak of the great helpless he feels. This form allows great emphasis on the chorus and it also climaxes at the end when the last chorus is repeated. However, not every grunge song contained this form. In Glycerine by Bush, the song has a much different form, but still allows the emotions of sorrow and regret be portrayed to the audience. <br />
It’s all about the emotions being reached. They did not need to use this form to release and tell all of the audience their problems. It can be reached just as well with other songs <br />
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<br />
== Musical analysis of songs ==<br />
<br><br />
Taking what has been learned about harmony, rhythm, dynamics, and form and its importance to grunge music now lets look at some songs created in the "grunge" music style. Find out more about grunge music and its history [[Grunge in London|here]]. <br />
<br><br><br />
{| class="wikitable" width="80%"<br />
|-<br />
! scope="row"| Grunge Music of the Late 1980's - Mid 1990's<br />
|-<br />
! Musical Elements <br />
! Heart Shaped Box <br />
! Black Hole Sun <br />
! Creep<br />
! Glycerine <br />
! Man in the Box<br />
|-<br />
! scope="row"| Artist <br />
| align="center"| Nirvana <br />
| align="center"| Soundgarden <br />
| align="center"| Radiohead<br />
| align="center"| Bush <br />
| align="center"| Alice in Chains <br />
|-<br />
! scope="row"| Rhythm<br />
| align="center"| <br />
* Time Signature: 4/4<br />
*Tempo: Moderately (108 - 120 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: 120 bpm<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: (90-93 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: Moderately (112-116 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: Moderately (107-109 bpm)<br />
|-<br />
! scope="row"| Harmony<br />
| align="center"| <br />
* Key: A minor<br />
*Major Chords: A5, F5, D5/ A, F5, D7<br />
*Chord Progressions: A5, F5, D5, A, D7<br />
| align="center"|<br />
* Key: F major<br />
*Major Chords: Gsus, G6, Bb6, F5, Em<br />
| align="center"|<br />
* Key: G major<br />
*Major Chords: G, B, C, Cm<br />
*Chord Progressions: G, B, C, Cm<br />
| align="center"|<br />
* Key: F major<br />
*Major Chords: F, C5, D5, Bb5<br />
*Chord Progressions: F, C5, D5, Bb5<br />
| align="center"|<br />
* Key: E minor <br />
* Major Chords: Em, E5, G, D, A<br />
*Chord Progressions: G5 G6 G5 G6 C E5<br />
|-<br />
! scope="row"| Dynamics <br />
| align="center"| <br />
*quite verse and roaring chorus <br />
| align="center"|<br />
*quite verse and roaring chorus <br />
| align="center"|<br />
*quite verse and roaring chorus <br />
*crescendo to chorus <br />
*decrescendo to verse <br />
| align="center"|<br />
*quite crescendo loud moderate level<br />
| align="center"|<br />
*moderate <br />
|-<br />
! scope="row"| Form <br />
| align="center"| <br />
*verse/chorus song form <br />
| align="center"|<br />
*verse/chorus song form <br />
| align="center"|<br />
*verse/chorus song form<br />
| align="center"|<br />
* verse/chorus/ bridge form <br />
| align="center"|<br />
*ABABB Form <br />
|- <br />
|}<br />
<br />
=Section 2: Elements to writing a grunge song=<br />
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[[File: ProjectPicture.jpg|x320px|right|thumb| Additional Image]]<br><br />
So now that we have a solid understanding of what the harmony, rhythm, dynamics, and form are and how they are used in grunge music, we are now ready to write a song that emphasises the true elements of grunge music. Here we are going step by step to identify how to create one of these grunge songs. If one is not familiar with a lot of grunge music, I would suggest looking at my page [[Grunge in London| Grunge in London]]. That page will give you more background and information about the grunge era with some of its iconic songs from artists both from America and London. <br />
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<br />
=== Rhythm ===<br />
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...use as many subsections or main sections as you need to support the claims for why what you did related to your ''Background'' section...<br />
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=== Harmony ===<br />
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...use as many subsections or main sections as you need to support the claims for why what you did related to your ''Background'' section...<br />
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=== Dynamics ===<br />
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=== Form ===<br />
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=Conclusion=<br />
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In this section, provide a summary or recap of your work, as well as potential areas of further inquiry (for yourself, future students, or other researchers). <br />
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=External Links=<br />
If appropriate, add an external links section<br />
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=Image Gallery=<br />
If appropriate, add an image gallery<br />
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=References=<br />
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[[Category:Music Projects]]<br />
[[Category:2017]]<br />
<br><br></div>Kfconroyhttps://londonhuawiki.wpi.edu/index.php?title=Music_Theory_behind_Grunge_Music&diff=18025Music Theory behind Grunge Music2017-06-21T11:34:49Z<p>Kfconroy: </p>
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by [[User:Kfconroy|Katharine Conory]]<br><br />
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=Abstract=<br />
The objective of this milestone is to take all that I have learned from my Grunge in London Capstone to analysis the music under the lens of music theory. I hope to be able to see what grunge music has to offer by way of harmony, rhythm, dynamics, and form, which are some of the elements of all music. Grunge music was a very special genre in which had a pretty distinct sound and attitude, but no real form to it. So in order to determine if there is a real “formula” to grunge music, a genre of rock, I am distinguishing from the alternative music of that time that did not count under the umbrella of grunge. For my deliverable, I am taking all that I learned from this analysis of grunge music from a music theory background to create my own guide to what a grunge song would contain in the way of harmony, rhythm, dynamics and form with examples of what I would do. <br> <br><br />
For this project, I am drawing back on my past experience with music theory and my violin background. This is slightly challenging due to the fact that harmony for a violin is much simpler for a violin than a guitar. In high school, I took several music classes and was in both chorus and band. I hope to gain more knowledge about music theory and help others understand music as well. <br />
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<br />
=Introduction=<br />
This project is meant to introduce those who enjoy music to the music theory or backbone of music that makes it sounds a certain way or gives it a certain emotion. Music is defined by its elements, which allows a certain genre of music sounds different than another. So, I distinguished four important elements of music and did an in-depth analysis of each with a comparison of grunge to popular rock music of that time. From that analysis, I then produced a guide to producing my own gunge song with examples of what I would do. <br> <br><br />
In my research, I found that grunge was more covered as a social and ethical topic with little being covered about the music itself. It was difficult to find much on the elements of music in respect to the grunge genre itself, but I did find some info on it under the umbrella of alternative. I discovered that its sound and style was primarily based off of the music’s harmony with the rhythm, form, and dynamics still very important to its overall sound. But, there was no real pattern to the music. Together in had a unique sound due to the harmonic practices, but what really kept the genre a genre was the music’s attitude and the taboo topics it tried to address. Each artist has its own unique style and sound but they all fell into the same genre. This project needs more research to fully grasp the musical differences between grunge music and the popular rock of the time. <br />
<br><br><br />
<br />
=Section 1: Background=<br />
Grunge was a style choice, a cultural movement and most importantly a music style that appeared in the late 1980’s to the early 1990’s, which songs had focused on topics of a taboo nature such as alienation, depression, and suicide. The movement focused on using their music to enlighten those around them about the problems that they were suffering from, which resonated very well with the youth who were also facing many of those issues. It was very popular and topped many of the more well-known artists. It had a new an appealing sound that differed from the rock and pop music of day. Grunge music is considered to be a sub-genre of rock with heavy overlap with other rock subgenres such as alternative, metal, and punk <ref> STRONG, C. (2016). GRUNGE: music and memory. S.l.: ROUTLEDGE. </ref>.The music contained a dirty and raw sound guitar sound, which gave the genre its name. This music has a significant effect on the culture of the Seattle area where is was started, which is no surprise due to the fact that music has always been a major component of cultural changes in society. There have been many scholarly articles citing its importance and during this time there was a major shift in attitudes towards the world and the people who lived in it, which emphasized the feelings correlated to alienation, depression, and suicide. However one may ask how music, subtracting the lyrics, could evoke such feelings, which in fact brings me to the focus of this capstone; the music theory behind grunge music that gave it its unique sound. <br><br> <br />
The music theory behind grunge music will explain how this music became so unique, but this calls into question of the definition music. In the most literal idea, one can see music as “vibrations in the air that are observed by us and then interpreted as sounds. These sounds play out over time, meaning that music is, therefore, sound over time” <ref> Samama, L., & Clements, D. (2016). What is music? In The Meaning of Music (pp. 27-31). Amsterdam University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/j.ctt1b9x1ts.5</ref>. However, that is way too literal and would infer that all sounds are music like all paintings are works of art. Music is way more sophisticated and can be seen as “multi-dimensional (and a) multimedia phenomenon’’ <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017.</ref>. Therefore music is grouped into seven different elements, which are rhythm, dynamics, melody, harmony, tone color, texture, and form to help identify the key differences between grunge music and say rap. These elements added to the sound and identity of the genre, so much so it stood out from the rest of the alternative genre, which grunge was a subgenre of, during that era. Below I have chosen 4 elements I feel distinguished the grunge genre of from that which was popular during the 1990’s and created the special sound to the music that allowed the artists to express their emotions. <br><br> <br />
<br />
==Musical Elements ==<br />
===Harmony === <br />
<br><br />
Harmony is very important to the creation of music, due to the fact it the way notes are played in relation to each other. This is a very technical and complex element of music that can be fairly hard to understand, so it is important to start at the beginning. There are seven notes in all of the music, not including all of the flats and sharps, A, B, C, D, E, F, G and these are the building blocks on which songs can then be built. The full list of notes which contain all the flats (b) and sharps (#) starting at A is '''A''', A#/Bb, '''B''', C, '''C#/Db''', '''D''', D#/Eb, '''E''', F, '''F#/Gb''', G, '''G#/Ab''', '''A''' and follows a pattern of 2212221, which gives a scale of A major. The pattern is followed by the bolded letters produces A, B, C#, D, E, F#, G#, and A as the A Major Scale. From the scale, one can then produce all of the chords that can be made from that key. A chord is several notes played together to that are separated by thirds, which produce notes that complement each other very well. The chords for an A major key would contain AC#E I (major), BDF# ii (minor), C#EG# iii (minor), DF#A IV (major), EG#B V (major), F#AC# vi (minor), G#BD vii0 (diminished). To form these 3 note chords, one takes the scale and starts at the first note in the scale, which in our case is A. Then, skip the next note, B, and chose C# to do this again for the third and last note of the chord. Your final chord will be AC#E, which is a major chord and they you do it for B, C#, etc. for the rest of the chords until you come back to your original note A. The chords are in a pattern of major, minor, minor, major, major, minor, and diminished, which are shown by the capitalized Roman numerals rather than the lower case ones and the 0 at the end means diminished. Another name this goes by is diatonic harmony and all this is the way notes relate with each other in a certain key. All of this can be replicated for all of the other keys in music to get chords. These chords then can be played in succession after one another and produce a chord progression. Some commonly used chord progressions in the key of A are ADE (I – IV- V) and BEA (ii-V-I). These chords and chord progression are what creates the harmony in the song and they are often used in term of how harsh they sound. The harshness of chords is quantified into dissonance and consonance. Dissonance is a very harsh sounding harmony and its chords known for creating tension in a piece. Consonance is a smooth sounding harmony that creates consonant chords, which resolves tension created by the dissonant chords. Chords are very important to music because it truly creates the mood of the music. More dissonant sounding music sounds almost unstable, eerie and sad. A really good example is Mozart’s Quartetto K. 465 "delle dissonanze". One can hear the very dissonant beginning and then throughout the rest of the piece, one can hear how dissonance is resolved by consonance (The Elements Of Music, 2017, p. 3). <htmltag tagname="iframe" id= width="200" height="150" src="https://www.youtube.com/embed/08uY0-ehL-w" frameborder="0" allowfullscreen></htmltag> <br />
<br><br />
In grunge music, harmony played a large part in creating its aesthetic and sound. This music was very powerful and was known to use “power chords” (McDonald, 2000, p.355) as a “set of harmonic practices that rock musicians, particularly those who participate in the domain of guitar-oriented 'alternative' rock, have been using” (McDonald, 2000, p.355) <ref> McDonald, C. (2000). Exploring modal subversions in alternative music. Popular Music, 19(3), 355-363. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/853641 </ref>. These musicians were trying to break the mold of rock and alternative music so they tried new practices such as distorting the guitar’s sounds and choosing unique chord combinations. An example of this was the change of the power chords, which are normally fifths or fourths (McDonald, 2000, p.356). However, do to the heavy guitar distortion, created by overloading the signal into the amplifier, it created a more complex sound that allowed more sound to come from the notes played. This distortion allowed chords done in thirds to have a richer and fuller sounds and as a byproduct created a very dissonant sound (Biamonte, 2010, p. 97). Another in interesting part to grunge’s harmony was its use of “third or cross relations” (McDonald, 2000, p.357) that allows songs that were written in the key of A major and as we determined before C# would be the C note used, however in grunge music the C would incongruently change a minor third to C5 or Cb. This is what author Chris McDonald calls “modal subversion” (McDonald, 2000, p.357). It used constantly in these songs and an example of it would be in “Smells like Teen Spirit” by Nirvana. In this song the key is in F minor and in that scale A is natural but in “Smells like Teen Spirit” the A modulates to Ab (Osborn, 2013, 31) <ref> Osborn, B. (2013). Subverting the Verse–Chorus paradigm; terminally climactic forms in recent rock music. Music Theory Spectrum, 35(1), 23-47. doi:10.1525/mts.2013.35.1.23 <br />
</ref>. This a common theme in many grunge songs and gives its unique sounds, aesthetic, and emotion. <br />
<br><br><br />
<br />
=== Rhythm ===<br />
<br><br />
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In music, the rhythm of a song is the time in which a song is played. This can be seen when a person is tapping one’s foot to the beat. The rhythm of the song is very important in creating the emotions of the song due to the fact that it determines how fast the piece is going to be. Encompassed in rhythm are sub-topics of duration, tempo, and meter, which helps the listener and musician to follow the structure of the piece. Rhythm tends to be more the technical part of the song but it carries much importance because without it the song would be a mess of lyrics and instruments without direction. So the duration is the length of time between each note and silence. It is used to bring attention to a certain section of the song because a very long note or silence is jarring to the listener. A silence can bring emphasis to the next note and add a complexity to the tempo of the song. The meter of the song is the repetition of accents and stresses that are arranged into the recognizable beat of the song. In a song, the accented notes tend to be the first note of the measure, however, to create more drama many artists utilize syncopation or the putting of accents on off-beats. The meter is emphasized by the song’s tempo or speed at which the beat is played. It is often known as beats per minute (bpm). The tempo of the song determines the level of excitement and mood of the song. It has been said by Gow that “the time-pattern upon his attention must be the excuse for the common conception of rhythm as the emotional element in music” (Gow, 1915, p. 637) or in layman terms. The pattern of sound, silence, and speed adds significantly to the emotions and feeling drawn from the piece so it is imperative that the artist uses the correct rhythm and tempo for the desired effect. An example of this would be how slow blues music tends to be around the 60 bpm and rock and roll music tends to be about 175 bpm. (Gow, 1915, p. 637- 642)<ref> Gow, G. (1915). Rhythm: The Life of Music. The Musical Quarterly, 1(4), 637-652. Retrieved from http://www.jstor.org/stable/738071 </ref> <br />
<br> <br> <br />
Grunge music is all about the aesthetic of the music and many times it is difficult to derive the meaning of the lyrics due to the vocal quality or symbolic meaning of the lyrics. So it’s imperative to set the right tone via the rhythm because without that the song could be changed from a very dark and emotional piece to one that sounds happy and light. Therefore, the duration of the notes and silences have to create drama and angst. The meter must accentuate the right beat and word of the lyrics to make them pop. One consistency round most grunge music is its timed meter, which was 4/4 time or four beats per measure. The emphasis on notes tended to be inconsistent though because it was really dependent on the lyrics. Some songs did use accents of off-beats to draw more attention to one part or another. Meter also creates the structure to the song. Without that the song has very similar and boring notes with no structure. The tempo has to give the song the right attitude. So in grunge music artists wanted a tempo to reflect sadness and depression that they often felt, but they but they wanted to be interesting and attention grabbing. So many artist chooses tempos from around 90-120 (bpm) there was no exact range to the tempos. It was really up to the musician’s ear. However, one can tell that the artist chose the right tempo, if the emotions were portrayed foremost in the music. A good example would be to speed up or slow down a grunge song.<br />
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When that is done, ignoring the higher pitch of Cobain's voice, it is obvious that one will not get the same emphasis on themes of the music leaving the song useless to the artist. The grunge artist needed the aesthetic of angst and pain to drip from the lyrics to get his point across. <br />
<br> <br><br />
<br />
=== Dynamics ===<br />
<br><br />
The dynamics of a song is the loudness and or softness at which the song is played at. A song can be played very loudly, fortissimo, or very softly, pianissimo, and it would create a different interpretation of the song. Some genres of music tend to produce quieter music while others like to blast their audience with their music. An artist can also have a range of volumes with many choosing sections of their song to be quieter to emphasize the words or the music’s complexity and others sections being softer to portray emotions. Sometimes the artist wants to create a buildup of tension in the song so he or she will use a crescendo, getting louder, or a decrescendo, getting softer to achieve it. Another part of dynamics, which was touched on in rhythm, is accenting a note or “leaning into a note” <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017. </ref> and it creates a unique sound. It is important to use dynamics because it keeps the music interesting. A lovely example that many people have probably heard before would be in Richard Strauss's Also Sprach Zarathustra, Op. 30. <br><br />
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It starts our pianissimo and then crescendos to fortissimo until it is absolutely blaring. These dynamics are meant to grab the attention of the audience and awaken anyone who has fallen asleep during the very quiet part. Dynamics are an important part of the music creation process due to the fact that a combination of these dynamics creates the genre's signature style. Hardcore rock is known to bombard their audience with sound while other genres such as country tend to have a moderate volume. <br />
<br><br><br />
Dynamics is another really important element in grunge music because it can be used as an emphasis on particular parts of the song. The song could go from a verse of quiet reflection to a chorus of raging anger. This element is interlinked with all of the other elements to create the song the way that artist meant to portray it. Many of the grunge artists use dynamics to emphasize the themes of the song. So while many songs of the grunge genre do tend to vacillate between very loud and quiet, not every song does. It all depends on the themes and emotions of the songs. An example of the differences would be comparing the dynamics of Black Hole Sun by Soundgarden and Glycerine by Bush. They are both classified under the genre of grunge music, but they have totally different dynamics. In Black Hole Sun, the first verse starts out pretty quiet to emphasize the almost euphoric nature of words and the invisibility the singer feels. Then in the chorus, there is a large increase in volume which tries to capture the anger and pain of his invisibility. However, in Glycerine, the verse starts out pretty quiet and has a mournful tone and it crescendos ever so slightly into the chorus which is still mournful plus a bit remorseful also. The dynamics are used in grunge as an emphasis on certain feelings and emotions and though some do have a pattern of a quite verse and loud chorus some use other dynamics to get their point across. <br />
<br><br><br />
=== Form ===<br />
<br><br />
{{Infobox<br />
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In music, the element of form is a combination of the repetition, contrast, and continuity that creates a song’s uniqueness. The form is very dependent on the other elements of music because it is the way the music is arranged. There is a mixture of musical ideas that are carefully arranged to create the meaning behind the music, which is illustrated when the chorus, speaking both lyrically and instrumentally, is repeated. To differentiate the diversions in music, letters such as A, B, C, are used. This is used determine the slight variation in musical patterns. Repetition is often utilized in form to set the theme of the song. This is seen when the chorus is repeated or the verse lyrics change and music stays the same. Repetition in music is known to create continuity and is usually done with a catchy chorus. Contrarily when there is a change or contrast in music, it is often used to note a shift in mood. The form includes a myriad of types including strophic, binary, verse/chorus song, and ternary forms. These types of forms are derived from the repetition, contrast, and continuity referred to previously. The strophic form is when the same music is repeated over and over for several verses of music. This is the most basic form, which lacks contrast and is all repetition. The message the song is trying to portray is usually very elementary. In the binary form, there are two parts. It uses contrast to highlight the question answer music phrasing between the similar phrasing contrasting section. A combination between the binary and strophic forms is the Verse/ Chorus Song form. It alternates between the storytelling verses, which contain different lyrics each verse, and the recurring chorus. <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017</ref>. It creates the feeling of familiarity and allows for many ideas and feelings to be told and then reiterated in the chorus, which is very important in grunge music. The last form being covered is the ternary from. It is a three-part form that has a repletion of the first verse, with different lyrics, which then processes to the chorus and returns back to the theme of the first verse. The form is very diverse in music and can evoke different emotions. So one can see how important it is to grunge music because of its ability to highlight the different parts of the song through repetition, contrast, and continuity. <br />
<br><br><br />
Grunge music is primarily about emotions and social issues that plagued many of the youth during that time, so it is very important to have the music bring attention to these issues through the phrasing of the chorus and verses. Songs In the 1990’s many rock songs followed a verse-chorus form, which Brad Osborn likes to call the “verse-chorus paradigm” (Osborn, 2013, p. 23). <ref> Osborn, B. (2013). Subverting the Verse–Chorus Paradigm: Terminally Climactic Forms in Recent Rock Music. Music Theory Spectrum, 35(1), 23-47. doi:10.1525/mts.2013.35.1.23 </ref> or in less layman terms a verse-chorus pattern. Osborn then quotes John Covach who says “In a verse-chorus [form]...the focus of the song is squarely on the chorus...[T]he verses serve primarily to prepare the return of the chorus’’ (Osborn, 2013, p. 23) and this makes the song sound like it’s using the chorus as the main bringer of emotion to the song. Many grunge songs, due to the fact that they are part of the rock genre, did use this form. It allowed many of the emotions of the first verse to be realized and then an overall feeling of dissatisfaction to be released about these feelings. This can especially be seen in “Heart-Shaped Box” by Nirvana, which starts with verse 1 <div style="text-align: center;"> She eyes me like a Pisces when I am weak <br><br />
I've been locked inside your heart-shaped box for weeks <br><br />
I've been drawn into your magnetar pit trap trap <br><br />
I wish I could eat your cancer when you turn black<ref> https://play.google.com/music/preview/Ttdyvwmcelupwuxwf6fsabw2qwq?lyrics=1&utm_source=google&utm_medium=search&utm_campaign=lyrics&pcampaignid=kp-lyrics </ref> </div><br>. The music plays on the use of the verse-chorus form to highlight the emotions of feeling trapped and helpless, which are then built on during the chorus <div style="text-align: center;"> Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice <br><br />
Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice<br><br />
Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice, your advice<ref> https://play.google.com/music/preview/Ttdyvwmcelupwuxwf6fsabw2qwq?lyrics=1&utm_source=google&utm_medium=search&utm_campaign=lyrics&pcampaignid=kp-lyrics </ref> </div><br>. The chorus is emphasizing the trapped feeling the singer is feeling, which he compares to debt. He feels that he is ever in debt and trapped. The next verse, which is musically a mirror of the first verse, but the lyrics speak of the great helpless he feels. This form allows great emphasis on the chorus and it also climaxes at the end when the last chorus is repeated. However, not every grunge song contained this form. In Glycerine by Bush, the song has a much different form, but still allows the emotions of sorrow and regret be portrayed to the audience. <br />
It’s all about the emotions being reached. They did not need to use this form to release and tell all of the audience their problems. It can be reached just as well with other songs <br />
<br><br><br />
<br />
== Musical analysis of songs ==<br />
<br><br />
Taking what has been learned about harmony, rhythm, dynamics, and form and its importance to grunge music now lets look at some songs created in the "grunge" music style. Find out more about grunge music and its history [[Grunge in London|here]]. <br />
<br><br><br />
{| class="wikitable" width="80%"<br />
|-<br />
! scope="row"| Grunge Music of the Late 1980's - Mid 1990's<br />
|-<br />
! Musical Elements <br />
! Heart Shaped Box <br />
! Black Hole Sun <br />
! Creep<br />
! Glycerine <br />
! Man in the Box<br />
|-<br />
! scope="row"| Artist <br />
| align="center"| Nirvana <br />
| align="center"| Soundgarden <br />
| align="center"| Radiohead<br />
| align="center"| Bush <br />
| align="center"| Alice in Chains <br />
|-<br />
! scope="row"| Rhythm<br />
| align="center"| <br />
* Time Signature: 4/4<br />
*Tempo: Moderately (108 - 120 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: 120 bpm<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: (90-93 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: Moderately (112-116 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: Moderately (107-109 bpm)<br />
|-<br />
! scope="row"| Harmony<br />
| align="center"| <br />
* Key: A minor<br />
*Major Chords: A5, F5, D5/ A, F5, D7<br />
*Chord Progressions: A5, F5, D5, A, D7<br />
| align="center"|<br />
* Key: F major<br />
*Major Chords: Gsus, G6, Bb6, F5, Em<br />
| align="center"|<br />
* Key: G major<br />
*Major Chords: G, B, C, Cm<br />
*Chord Progressions: G, B, C, Cm<br />
| align="center"|<br />
* Key: F major<br />
*Major Chords: F, C5, D5, Bb5<br />
*Chord Progressions: F, C5, D5, Bb5<br />
| align="center"|<br />
* Key: E minor <br />
* Major Chords: Em, E5, G, D, A<br />
*Chord Progressions: G5 G6 G5 G6 C E5<br />
|-<br />
! scope="row"| Dynamics <br />
| align="center"| <br />
*quite verse and roaring chorus <br />
| align="center"|<br />
*quite verse and roaring chorus <br />
| align="center"|<br />
*quite verse and roaring chorus <br />
*crescendo to chorus <br />
*decrescendo to verse <br />
| align="center"|<br />
*quite crescendo loud moderate level<br />
| align="center"|<br />
*moderate <br />
|-<br />
! scope="row"| Form <br />
| align="center"| <br />
*verse/chorus song form <br />
| align="center"|<br />
*verse/chorus song form <br />
| align="center"|<br />
*verse/chorus song form<br />
| align="center"|<br />
* verse/chorus/ bridge form <br />
| align="center"|<br />
*Working on it <br />
|- ABABB Form <br />
|}<br />
<br />
=Section 2: Elements to writing a grunge song=<br />
<br><br />
<br />
[[File: ProjectPicture.jpg|x320px|right|thumb| Additional Image]]<br><br />
So now that we have a solid understanding of what the harmony, rhythm, dynamics, and form are and how they are used in grunge music, we are now ready to write a song that emphasises the true elements of grunge music. Here we are going step by step to identify how to create one of these grunge songs. If one is not familiar with a lot of grunge music, I would suggest looking at my page [[Grunge in London| Grunge in London]]. That page will give you more background and information about the grunge era with some of its iconic songs from artists both from America and London. <br />
<br><br><br />
<br />
=== Rhythm ===<br />
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...use as many subsections or main sections as you need to support the claims for why what you did related to your ''Background'' section...<br />
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=== Harmony ===<br />
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...use as many subsections or main sections as you need to support the claims for why what you did related to your ''Background'' section...<br />
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=== Dynamics ===<br />
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...and so on and so forth...<br />
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=== Form ===<br />
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=Conclusion=<br />
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In this section, provide a summary or recap of your work, as well as potential areas of further inquiry (for yourself, future students, or other researchers). <br />
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=External Links=<br />
If appropriate, add an external links section<br />
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=Image Gallery=<br />
If appropriate, add an image gallery<br />
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=References=<br />
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[[Category:Music Projects]]<br />
[[Category:2017]]<br />
<br><br></div>Kfconroyhttps://londonhuawiki.wpi.edu/index.php?title=Music_Theory_behind_Grunge_Music&diff=18024Music Theory behind Grunge Music2017-06-21T11:33:55Z<p>Kfconroy: </p>
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by [[User:Kfconroy|Katharine Conory]]<br><br />
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<br />
=Abstract=<br />
The objective of this milestone is to take all that I have learned from my Grunge in London Capstone to analysis the music under the lens of music theory. I hope to be able to see what grunge music has to offer by way of harmony, rhythm, dynamics, and form, which are some of the elements of all music. Grunge music was a very special genre in which had a pretty distinct sound and attitude, but no real form to it. So in order to determine if there is a real “formula” to grunge music, a genre of rock, I am distinguishing from the alternative music of that time that did not count under the umbrella of grunge. For my deliverable, I am taking all that I learned from this analysis of grunge music from a music theory background to create my own guide to what a grunge song would contain in the way of harmony, rhythm, dynamics and form with examples of what I would do. <br> <br><br />
For this project, I am drawing back on my past experience with music theory and my violin background. This is slightly challenging due to the fact that harmony for a violin is much simpler for a violin than a guitar. In high school, I took several music classes and was in both chorus and band. I hope to gain more knowledge about music theory and help others understand music as well. <br />
<br><br><br />
<br />
=Introduction=<br />
This project is meant to introduce those who enjoy music to the music theory or backbone of music that makes it sounds a certain way or gives it a certain emotion. Music is defined by its elements, which allows a certain genre of music sounds different than another. So, I distinguished four important elements of music and did an in-depth analysis of each with a comparison of grunge to popular rock music of that time. From that analysis, I then produced a guide to producing my own gunge song with examples of what I would do. <br> <br><br />
In my research, I found that grunge was more covered as a social and ethical topic with little being covered about the music itself. It was difficult to find much on the elements of music in respect to the grunge genre itself, but I did find some info on it under the umbrella of alternative. I discovered that its sound and style was primarily based off of the music’s harmony with the rhythm, form, and dynamics still very important to its overall sound. But, there was no real pattern to the music. Together in had a unique sound due to the harmonic practices, but what really kept the genre a genre was the music’s attitude and the taboo topics it tried to address. Each artist has its own unique style and sound but they all fell into the same genre. This project needs more research to fully grasp the musical differences between grunge music and the popular rock of the time. <br />
<br><br><br />
<br />
=Section 1: Background=<br />
Grunge was a style choice, a cultural movement and most importantly a music style that appeared in the late 1980’s to the early 1990’s, which songs had focused on topics of a taboo nature such as alienation, depression, and suicide. The movement focused on using their music to enlighten those around them about the problems that they were suffering from, which resonated very well with the youth who were also facing many of those issues. It was very popular and topped many of the more well-known artists. It had a new an appealing sound that differed from the rock and pop music of day. Grunge music is considered to be a sub-genre of rock with heavy overlap with other rock subgenres such as alternative, metal, and punk <ref> STRONG, C. (2016). GRUNGE: music and memory. S.l.: ROUTLEDGE. </ref>.The music contained a dirty and raw sound guitar sound, which gave the genre its name. This music has a significant effect on the culture of the Seattle area where is was started, which is no surprise due to the fact that music has always been a major component of cultural changes in society. There have been many scholarly articles citing its importance and during this time there was a major shift in attitudes towards the world and the people who lived in it, which emphasized the feelings correlated to alienation, depression, and suicide. However one may ask how music, subtracting the lyrics, could evoke such feelings, which in fact brings me to the focus of this capstone; the music theory behind grunge music that gave it its unique sound. <br><br> <br />
The music theory behind grunge music will explain how this music became so unique, but this calls into question of the definition music. In the most literal idea, one can see music as “vibrations in the air that are observed by us and then interpreted as sounds. These sounds play out over time, meaning that music is, therefore, sound over time” <ref> Samama, L., & Clements, D. (2016). What is music? In The Meaning of Music (pp. 27-31). Amsterdam University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/j.ctt1b9x1ts.5</ref>. However, that is way too literal and would infer that all sounds are music like all paintings are works of art. Music is way more sophisticated and can be seen as “multi-dimensional (and a) multimedia phenomenon’’ <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017.</ref>. Therefore music is grouped into seven different elements, which are rhythm, dynamics, melody, harmony, tone color, texture, and form to help identify the key differences between grunge music and say rap. These elements added to the sound and identity of the genre, so much so it stood out from the rest of the alternative genre, which grunge was a subgenre of, during that era. Below I have chosen 4 elements I feel distinguished the grunge genre of from that which was popular during the 1990’s and created the special sound to the music that allowed the artists to express their emotions. <br><br> <br />
<br />
==Musical Elements ==<br />
===Harmony === <br />
<br><br />
Harmony is very important to the creation of music, due to the fact it the way notes are played in relation to each other. This is a very technical and complex element of music that can be fairly hard to understand, so it is important to start at the beginning. There are seven notes in all of the music, not including all of the flats and sharps, A, B, C, D, E, F, G and these are the building blocks on which songs can then be built. The full list of notes which contain all the flats (b) and sharps (#) starting at A is '''A''', A#/Bb, '''B''', C, '''C#/Db''', '''D''', D#/Eb, '''E''', F, '''F#/Gb''', G, '''G#/Ab''', '''A''' and follows a pattern of 2212221, which gives a scale of A major. The pattern is followed by the bolded letters produces A, B, C#, D, E, F#, G#, and A as the A Major Scale. From the scale, one can then produce all of the chords that can be made from that key. A chord is several notes played together to that are separated by thirds, which produce notes that complement each other very well. The chords for an A major key would contain AC#E I (major), BDF# ii (minor), C#EG# iii (minor), DF#A IV (major), EG#B V (major), F#AC# vi (minor), G#BD vii0 (diminished). To form these 3 note chords, one takes the scale and starts at the first note in the scale, which in our case is A. Then, skip the next note, B, and chose C# to do this again for the third and last note of the chord. Your final chord will be AC#E, which is a major chord and they you do it for B, C#, etc. for the rest of the chords until you come back to your original note A. The chords are in a pattern of major, minor, minor, major, major, minor, and diminished, which are shown by the capitalized Roman numerals rather than the lower case ones and the 0 at the end means diminished. Another name this goes by is diatonic harmony and all this is the way notes relate with each other in a certain key. All of this can be replicated for all of the other keys in music to get chords. These chords then can be played in succession after one another and produce a chord progression. Some commonly used chord progressions in the key of A are ADE (I – IV- V) and BEA (ii-V-I). These chords and chord progression are what creates the harmony in the song and they are often used in term of how harsh they sound. The harshness of chords is quantified into dissonance and consonance. Dissonance is a very harsh sounding harmony and its chords known for creating tension in a piece. Consonance is a smooth sounding harmony that creates consonant chords, which resolves tension created by the dissonant chords. Chords are very important to music because it truly creates the mood of the music. More dissonant sounding music sounds almost unstable, eerie and sad. A really good example is Mozart’s Quartetto K. 465 "delle dissonanze" <htmltag tagname="iframe" id= width="200" height="150" src="https://www.youtube.com/embed/08uY0-ehL-w" frameborder="0" allowfullscreen></htmltag> One can hear the very dissonant beginning and then throughout the rest of the piece, one can hear how dissonance is resolved by consonance (The Elements Of Music, 2017, p. 3).<br />
In grunge music, harmony played a large part in creating its aesthetic and sound. This music was very powerful and was known to use “power chords” (McDonald, 2000, p.355) as a “set of harmonic practices that rock musicians, particularly those who participate in the domain of guitar-oriented 'alternative' rock, have been using” (McDonald, 2000, p.355) <ref> McDonald, C. (2000). Exploring modal subversions in alternative music. Popular Music, 19(3), 355-363. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/853641 </ref>. These musicians were trying to break the mold of rock and alternative music so they tried new practices such as distorting the guitar’s sounds and choosing unique chord combinations. An example of this was the change of the power chords, which are normally fifths or fourths (McDonald, 2000, p.356). However, do to the heavy guitar distortion, created by overloading the signal into the amplifier, it created a more complex sound that allowed more sound to come from the notes played. This distortion allowed chords done in thirds to have a richer and fuller sounds and as a byproduct created a very dissonant sound (Biamonte, 2010, p. 97). Another in interesting part to grunge’s harmony was its use of “third or cross relations” (McDonald, 2000, p.357) that allows songs that were written in the key of A major and as we determined before C# would be the C note used, however in grunge music the C would incongruently change a minor third to C5 or Cb. This is what author Chris McDonald calls “modal subversion” (McDonald, 2000, p.357). It used constantly in these songs and an example of it would be in “Smells like Teen Spirit” by Nirvana. In this song the key is in F minor and in that scale A is natural but in “Smells like Teen Spirit” the A modulates to Ab (Osborn, 2013, 31) <ref> Osborn, B. (2013). Subverting the Verse–Chorus paradigm; terminally climactic forms in recent rock music. Music Theory Spectrum, 35(1), 23-47. doi:10.1525/mts.2013.35.1.23 <br />
</ref>. This a common theme in many grunge songs and gives its unique sounds, aesthetic, and emotion. <br />
<br><br><br />
=== Rhythm ===<br />
<br><br />
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In music, the rhythm of a song is the time in which a song is played. This can be seen when a person is tapping one’s foot to the beat. The rhythm of the song is very important in creating the emotions of the song due to the fact that it determines how fast the piece is going to be. Encompassed in rhythm are sub-topics of duration, tempo, and meter, which helps the listener and musician to follow the structure of the piece. Rhythm tends to be more the technical part of the song but it carries much importance because without it the song would be a mess of lyrics and instruments without direction. So the duration is the length of time between each note and silence. It is used to bring attention to a certain section of the song because a very long note or silence is jarring to the listener. A silence can bring emphasis to the next note and add a complexity to the tempo of the song. The meter of the song is the repetition of accents and stresses that are arranged into the recognizable beat of the song. In a song, the accented notes tend to be the first note of the measure, however, to create more drama many artists utilize syncopation or the putting of accents on off-beats. The meter is emphasized by the song’s tempo or speed at which the beat is played. It is often known as beats per minute (bpm). The tempo of the song determines the level of excitement and mood of the song. It has been said by Gow that “the time-pattern upon his attention must be the excuse for the common conception of rhythm as the emotional element in music” (Gow, 1915, p. 637) or in layman terms. The pattern of sound, silence, and speed adds significantly to the emotions and feeling drawn from the piece so it is imperative that the artist uses the correct rhythm and tempo for the desired effect. An example of this would be how slow blues music tends to be around the 60 bpm and rock and roll music tends to be about 175 bpm. (Gow, 1915, p. 637- 642)<ref> Gow, G. (1915). Rhythm: The Life of Music. The Musical Quarterly, 1(4), 637-652. Retrieved from http://www.jstor.org/stable/738071 </ref> <br />
<br> <br> <br />
Grunge music is all about the aesthetic of the music and many times it is difficult to derive the meaning of the lyrics due to the vocal quality or symbolic meaning of the lyrics. So it’s imperative to set the right tone via the rhythm because without that the song could be changed from a very dark and emotional piece to one that sounds happy and light. Therefore, the duration of the notes and silences have to create drama and angst. The meter must accentuate the right beat and word of the lyrics to make them pop. One consistency round most grunge music is its timed meter, which was 4/4 time or four beats per measure. The emphasis on notes tended to be inconsistent though because it was really dependent on the lyrics. Some songs did use accents of off-beats to draw more attention to one part or another. Meter also creates the structure to the song. Without that the song has very similar and boring notes with no structure. The tempo has to give the song the right attitude. So in grunge music artists wanted a tempo to reflect sadness and depression that they often felt, but they but they wanted to be interesting and attention grabbing. So many artist chooses tempos from around 90-120 (bpm) there was no exact range to the tempos. It was really up to the musician’s ear. However, one can tell that the artist chose the right tempo, if the emotions were portrayed foremost in the music. A good example would be to speed up or slow down a grunge song.<br />
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When that is done, ignoring the higher pitch of Cobain's voice, it is obvious that one will not get the same emphasis on themes of the music leaving the song useless to the artist. The grunge artist needed the aesthetic of angst and pain to drip from the lyrics to get his point across. <br />
<br> <br><br />
<br />
=== Dynamics ===<br />
<br><br />
The dynamics of a song is the loudness and or softness at which the song is played at. A song can be played very loudly, fortissimo, or very softly, pianissimo, and it would create a different interpretation of the song. Some genres of music tend to produce quieter music while others like to blast their audience with their music. An artist can also have a range of volumes with many choosing sections of their song to be quieter to emphasize the words or the music’s complexity and others sections being softer to portray emotions. Sometimes the artist wants to create a buildup of tension in the song so he or she will use a crescendo, getting louder, or a decrescendo, getting softer to achieve it. Another part of dynamics, which was touched on in rhythm, is accenting a note or “leaning into a note” <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017. </ref> and it creates a unique sound. It is important to use dynamics because it keeps the music interesting. A lovely example that many people have probably heard before would be in Richard Strauss's Also Sprach Zarathustra, Op. 30. <br><br />
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It starts our pianissimo and then crescendos to fortissimo until it is absolutely blaring. These dynamics are meant to grab the attention of the audience and awaken anyone who has fallen asleep during the very quiet part. Dynamics are an important part of the music creation process due to the fact that a combination of these dynamics creates the genre's signature style. Hardcore rock is known to bombard their audience with sound while other genres such as country tend to have a moderate volume. <br />
<br><br><br />
Dynamics is another really important element in grunge music because it can be used as an emphasis on particular parts of the song. The song could go from a verse of quiet reflection to a chorus of raging anger. This element is interlinked with all of the other elements to create the song the way that artist meant to portray it. Many of the grunge artists use dynamics to emphasize the themes of the song. So while many songs of the grunge genre do tend to vacillate between very loud and quiet, not every song does. It all depends on the themes and emotions of the songs. An example of the differences would be comparing the dynamics of Black Hole Sun by Soundgarden and Glycerine by Bush. They are both classified under the genre of grunge music, but they have totally different dynamics. In Black Hole Sun, the first verse starts out pretty quiet to emphasize the almost euphoric nature of words and the invisibility the singer feels. Then in the chorus, there is a large increase in volume which tries to capture the anger and pain of his invisibility. However, in Glycerine, the verse starts out pretty quiet and has a mournful tone and it crescendos ever so slightly into the chorus which is still mournful plus a bit remorseful also. The dynamics are used in grunge as an emphasis on certain feelings and emotions and though some do have a pattern of a quite verse and loud chorus some use other dynamics to get their point across. <br />
<br><br><br />
=== Form ===<br />
<br><br />
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In music, the element of form is a combination of the repetition, contrast, and continuity that creates a song’s uniqueness. The form is very dependent on the other elements of music because it is the way the music is arranged. There is a mixture of musical ideas that are carefully arranged to create the meaning behind the music, which is illustrated when the chorus, speaking both lyrically and instrumentally, is repeated. To differentiate the diversions in music, letters such as A, B, C, are used. This is used determine the slight variation in musical patterns. Repetition is often utilized in form to set the theme of the song. This is seen when the chorus is repeated or the verse lyrics change and music stays the same. Repetition in music is known to create continuity and is usually done with a catchy chorus. Contrarily when there is a change or contrast in music, it is often used to note a shift in mood. The form includes a myriad of types including strophic, binary, verse/chorus song, and ternary forms. These types of forms are derived from the repetition, contrast, and continuity referred to previously. The strophic form is when the same music is repeated over and over for several verses of music. This is the most basic form, which lacks contrast and is all repetition. The message the song is trying to portray is usually very elementary. In the binary form, there are two parts. It uses contrast to highlight the question answer music phrasing between the similar phrasing contrasting section. A combination between the binary and strophic forms is the Verse/ Chorus Song form. It alternates between the storytelling verses, which contain different lyrics each verse, and the recurring chorus. <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017</ref>. It creates the feeling of familiarity and allows for many ideas and feelings to be told and then reiterated in the chorus, which is very important in grunge music. The last form being covered is the ternary from. It is a three-part form that has a repletion of the first verse, with different lyrics, which then processes to the chorus and returns back to the theme of the first verse. The form is very diverse in music and can evoke different emotions. So one can see how important it is to grunge music because of its ability to highlight the different parts of the song through repetition, contrast, and continuity. <br />
<br><br><br />
Grunge music is primarily about emotions and social issues that plagued many of the youth during that time, so it is very important to have the music bring attention to these issues through the phrasing of the chorus and verses. Songs In the 1990’s many rock songs followed a verse-chorus form, which Brad Osborn likes to call the “verse-chorus paradigm” (Osborn, 2013, p. 23). <ref> Osborn, B. (2013). Subverting the Verse–Chorus Paradigm: Terminally Climactic Forms in Recent Rock Music. Music Theory Spectrum, 35(1), 23-47. doi:10.1525/mts.2013.35.1.23 </ref> or in less layman terms a verse-chorus pattern. Osborn then quotes John Covach who says “In a verse-chorus [form]...the focus of the song is squarely on the chorus...[T]he verses serve primarily to prepare the return of the chorus’’ (Osborn, 2013, p. 23) and this makes the song sound like it’s using the chorus as the main bringer of emotion to the song. Many grunge songs, due to the fact that they are part of the rock genre, did use this form. It allowed many of the emotions of the first verse to be realized and then an overall feeling of dissatisfaction to be released about these feelings. This can especially be seen in “Heart-Shaped Box” by Nirvana, which starts with verse 1 <div style="text-align: center;"> She eyes me like a Pisces when I am weak <br><br />
I've been locked inside your heart-shaped box for weeks <br><br />
I've been drawn into your magnetar pit trap trap <br><br />
I wish I could eat your cancer when you turn black<ref> https://play.google.com/music/preview/Ttdyvwmcelupwuxwf6fsabw2qwq?lyrics=1&utm_source=google&utm_medium=search&utm_campaign=lyrics&pcampaignid=kp-lyrics </ref> </div><br>. The music plays on the use of the verse-chorus form to highlight the emotions of feeling trapped and helpless, which are then built on during the chorus <div style="text-align: center;"> Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice <br><br />
Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice<br><br />
Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice, your advice<ref> https://play.google.com/music/preview/Ttdyvwmcelupwuxwf6fsabw2qwq?lyrics=1&utm_source=google&utm_medium=search&utm_campaign=lyrics&pcampaignid=kp-lyrics </ref> </div><br>. The chorus is emphasizing the trapped feeling the singer is feeling, which he compares to debt. He feels that he is ever in debt and trapped. The next verse, which is musically a mirror of the first verse, but the lyrics speak of the great helpless he feels. This form allows great emphasis on the chorus and it also climaxes at the end when the last chorus is repeated. However, not every grunge song contained this form. In Glycerine by Bush, the song has a much different form, but still allows the emotions of sorrow and regret be portrayed to the audience. <br />
It’s all about the emotions being reached. They did not need to use this form to release and tell all of the audience their problems. It can be reached just as well with other songs <br />
<br><br><br />
<br />
== Musical analysis of songs ==<br />
<br><br />
Taking what has been learned about harmony, rhythm, dynamics, and form and its importance to grunge music now lets look at some songs created in the "grunge" music style. Find out more about grunge music and its history [[Grunge in London|here]]. <br />
<br><br><br />
{| class="wikitable" width="80%"<br />
|-<br />
! scope="row"| Grunge Music of the Late 1980's - Mid 1990's<br />
|-<br />
! Musical Elements <br />
! Heart Shaped Box <br />
! Black Hole Sun <br />
! Creep<br />
! Glycerine <br />
! Man in the Box<br />
|-<br />
! scope="row"| Artist <br />
| align="center"| Nirvana <br />
| align="center"| Soundgarden <br />
| align="center"| Radiohead<br />
| align="center"| Bush <br />
| align="center"| Alice in Chains <br />
|-<br />
! scope="row"| Rhythm<br />
| align="center"| <br />
* Time Signature: 4/4<br />
*Tempo: Moderately (108 - 120 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: 120 bpm<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: (90-93 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: Moderately (112-116 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: Moderately (107-109 bpm)<br />
|-<br />
! scope="row"| Harmony<br />
| align="center"| <br />
* Key: A minor<br />
*Major Chords: A5, F5, D5/ A, F5, D7<br />
*Chord Progressions: A5, F5, D5, A, D7<br />
| align="center"|<br />
* Key: F major<br />
*Major Chords: Gsus, G6, Bb6, F5, Em<br />
| align="center"|<br />
* Key: G major<br />
*Major Chords: G, B, C, Cm<br />
*Chord Progressions: G, B, C, Cm<br />
| align="center"|<br />
* Key: F major<br />
*Major Chords: F, C5, D5, Bb5<br />
*Chord Progressions: F, C5, D5, Bb5<br />
| align="center"|<br />
* Key: E minor <br />
* Major Chords: Em, E5, G, D, A<br />
*Chord Progressions: G5 G6 G5 G6 C E5<br />
|-<br />
! scope="row"| Dynamics <br />
| align="center"| <br />
*quite verse and roaring chorus <br />
| align="center"|<br />
*quite verse and roaring chorus <br />
| align="center"|<br />
*quite verse and roaring chorus <br />
*crescendo to chorus <br />
*decrescendo to verse <br />
| align="center"|<br />
*quite crescendo loud moderate level<br />
| align="center"|<br />
*moderate <br />
|-<br />
! scope="row"| Form <br />
| align="center"| <br />
*verse/chorus song form <br />
| align="center"|<br />
*verse/chorus song form <br />
| align="center"|<br />
*verse/chorus song form<br />
| align="center"|<br />
* verse/chorus/ bridge form <br />
| align="center"|<br />
*Working on it <br />
|- ABABB Form <br />
|}<br />
<br />
=Section 2: Elements to writing a grunge song=<br />
<br><br />
<br />
[[File: ProjectPicture.jpg|x320px|right|thumb| Additional Image]]<br><br />
So now that we have a solid understanding of what the harmony, rhythm, dynamics, and form are and how they are used in grunge music, we are now ready to write a song that emphasises the true elements of grunge music. Here we are going step by step to identify how to create one of these grunge songs. If one is not familiar with a lot of grunge music, I would suggest looking at my page [[Grunge in London| Grunge in London]]. That page will give you more background and information about the grunge era with some of its iconic songs from artists both from America and London. <br />
<br><br><br />
<br />
=== Rhythm ===<br />
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...use as many subsections or main sections as you need to support the claims for why what you did related to your ''Background'' section...<br />
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=== Harmony ===<br />
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...use as many subsections or main sections as you need to support the claims for why what you did related to your ''Background'' section...<br />
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=== Dynamics ===<br />
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=== Form ===<br />
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=Conclusion=<br />
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In this section, provide a summary or recap of your work, as well as potential areas of further inquiry (for yourself, future students, or other researchers). <br />
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=External Links=<br />
If appropriate, add an external links section<br />
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=Image Gallery=<br />
If appropriate, add an image gallery<br />
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=References=<br />
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[[Category:Music Projects]]<br />
[[Category:2017]]<br />
<br><br></div>Kfconroyhttps://londonhuawiki.wpi.edu/index.php?title=Music_Theory_behind_Grunge_Music&diff=18019Music Theory behind Grunge Music2017-06-21T11:32:47Z<p>Kfconroy: </p>
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by [[User:Kfconroy|Katharine Conory]]<br><br />
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<br />
=Abstract=<br />
The objective of this milestone is to take all that I have learned from my Grunge in London Capstone to analysis the music under the lens of music theory. I hope to be able to see what grunge music has to offer by way of harmony, rhythm, dynamics, and form, which are some of the elements of all music. Grunge music was a very special genre in which had a pretty distinct sound and attitude, but no real form to it. So in order to determine if there is a real “formula” to grunge music, a genre of rock, I am distinguishing from the alternative music of that time that did not count under the umbrella of grunge. For my deliverable, I am taking all that I learned from this analysis of grunge music from a music theory background to create my own guide to what a grunge song would contain in the way of harmony, rhythm, dynamics and form with examples of what I would do. <br> <br><br />
For this project, I am drawing back on my past experience with music theory and my violin background. This is slightly challenging due to the fact that harmony for a violin is much simpler for a violin than a guitar. In high school, I took several music classes and was in both chorus and band. I hope to gain more knowledge about music theory and help others understand music as well. <br />
<br><br><br />
<br />
=Introduction=<br />
This project is meant to introduce those who enjoy music to the music theory or backbone of music that makes it sounds a certain way or gives it a certain emotion. Music is defined by its elements, which allows a certain genre of music sounds different than another. So, I distinguished four important elements of music and did an in-depth analysis of each with a comparison of grunge to popular rock music of that time. From that analysis, I then produced a guide to producing my own gunge song with examples of what I would do. <br> <br><br />
In my research, I found that grunge was more covered as a social and ethical topic with little being covered about the music itself. It was difficult to find much on the elements of music in respect to the grunge genre itself, but I did find some info on it under the umbrella of alternative. I discovered that its sound and style was primarily based off of the music’s harmony with the rhythm, form, and dynamics still very important to its overall sound. But, there was no real pattern to the music. Together in had a unique sound due to the harmonic practices, but what really kept the genre a genre was the music’s attitude and the taboo topics it tried to address. Each artist has its own unique style and sound but they all fell into the same genre. This project needs more research to fully grasp the musical differences between grunge music and the popular rock of the time. <br />
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<br />
=Section 1: Background=<br />
Grunge was a style choice, a cultural movement and most importantly a music style that appeared in the late 1980’s to the early 1990’s, which songs had focused on topics of a taboo nature such as alienation, depression, and suicide. The movement focused on using their music to enlighten those around them about the problems that they were suffering from, which resonated very well with the youth who were also facing many of those issues. It was very popular and topped many of the more well-known artists. It had a new an appealing sound that differed from the rock and pop music of day. Grunge music is considered to be a sub-genre of rock with heavy overlap with other rock subgenres such as alternative, metal, and punk <ref> STRONG, C. (2016). GRUNGE: music and memory. S.l.: ROUTLEDGE. </ref>.The music contained a dirty and raw sound guitar sound, which gave the genre its name. This music has a significant effect on the culture of the Seattle area where is was started, which is no surprise due to the fact that music has always been a major component of cultural changes in society. There have been many scholarly articles citing its importance and during this time there was a major shift in attitudes towards the world and the people who lived in it, which emphasized the feelings correlated to alienation, depression, and suicide. However one may ask how music, subtracting the lyrics, could evoke such feelings, which in fact brings me to the focus of this capstone; the music theory behind grunge music that gave it its unique sound. <br><br> <br />
The music theory behind grunge music will explain how this music became so unique, but this calls into question of the definition music. In the most literal idea, one can see music as “vibrations in the air that are observed by us and then interpreted as sounds. These sounds play out over time, meaning that music is, therefore, sound over time” <ref> Samama, L., & Clements, D. (2016). What is music? In The Meaning of Music (pp. 27-31). Amsterdam University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/j.ctt1b9x1ts.5</ref>. However, that is way too literal and would infer that all sounds are music like all paintings are works of art. Music is way more sophisticated and can be seen as “multi-dimensional (and a) multimedia phenomenon’’ <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017.</ref>. Therefore music is grouped into seven different elements, which are rhythm, dynamics, melody, harmony, tone color, texture, and form to help identify the key differences between grunge music and say rap. These elements added to the sound and identity of the genre, so much so it stood out from the rest of the alternative genre, which grunge was a subgenre of, during that era. Below I have chosen 4 elements I feel distinguished the grunge genre of from that which was popular during the 1990’s and created the special sound to the music that allowed the artists to express their emotions. <br><br> <br />
<br />
==Musical Elements ==<br />
===Harmony === <br />
<br><br />
Harmony is very important to the creation of music, due to the fact it the way notes are played in relation to each other. This is a very technical and complex element of music that can be fairly hard to understand, so it is important to start at the beginning. There are seven notes in all of the music, not including all of the flats and sharps, A, B, C, D, E, F, G and these are the building blocks on which songs can then be built. The full list of notes which contain all the flats (b) and sharps (#) starting at A is '''A''', A#/Bb, '''B''', C, '''C#/Db''', '''D''', D#/Eb, '''E''', F, '''F#/Gb''', G, '''G#/Ab''', '''A''' and follows a pattern of 2212221, which gives a scale of A major. The pattern is followed by the bolded letters produces A, B, C#, D, E, F#, G#, and A as the A Major Scale. From the scale, one can then produce all of the chords that can be made from that key. A chord is several notes played together to that are separated by thirds, which produce notes that complement each other very well. The chords for an A major key would contain AC#E I (major), BDF# ii (minor), C#EG# iii (minor), DF#A IV (major), EG#B V (major), F#AC# vi (minor), G#BD vii0 (diminished). To form these 3 note chords, one takes the scale and starts at the first note in the scale, which in our case is A. Then, skip the next note, B, and chose C# to do this again for the third and last note of the chord. Your final chord will be AC#E, which is a major chord and they you do it for B, C#, etc. for the rest of the chords until you come back to your original note A. The chords are in a pattern of major, minor, minor, major, major, minor, and diminished, which are shown by the capitalized Roman numerals rather than the lower case ones and the 0 at the end means diminished. Another name this goes by is diatonic harmony and all this is the way notes relate with each other in a certain key. All of this can be replicated for all of the other keys in music to get chords. These chords then can be played in succession after one another and produce a chord progression. Some commonly used chord progressions in the key of A are ADE (I – IV- V) and BEA (ii-V-I). These chords and chord progression are what creates the harmony in the song and they are often used in term of how harsh they sound. The harshness of chords is quantified into dissonance and consonance. Dissonance is a very harsh sounding harmony and its chords known for creating tension in a piece. Consonance is a smooth sounding harmony that creates consonant chords, which resolves tension created by the dissonant chords. Chords are very important to music because it truly creates the mood of the music. More dissonant sounding music sounds almost unstable, eerie and sad. A really good example is Mozart’s Quartetto K. 465 "delle dissonanze" <htmltag tagname="iframe" id= width="200" height="150" src="https://www.youtube.com/embed/08uY0-ehL-w" frameborder="0" allowfullscreen</htmltag> One can hear the very dissonant beginning and then throughout the rest of the piece, one can hear how dissonance is resolved by consonance (The Elements Of Music, 2017, p. 3).<br />
In grunge music, harmony played a large part in creating its aesthetic and sound. This music was very powerful and was known to use “power chords” (McDonald, 2000, p.355) as a “set of harmonic practices that rock musicians, particularly those who participate in the domain of guitar-oriented 'alternative' rock, have been using” (McDonald, 2000, p.355) <ref> McDonald, C. (2000). Exploring modal subversions in alternative music. Popular Music, 19(3), 355-363. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/853641 </ref>. These musicians were trying to break the mold of rock and alternative music so they tried new practices such as distorting the guitar’s sounds and choosing unique chord combinations. An example of this was the change of the power chords, which are normally fifths or fourths (McDonald, 2000, p.356). However, do to the heavy guitar distortion, created by overloading the signal into the amplifier, it created a more complex sound that allowed more sound to come from the notes played. This distortion allowed chords done in thirds to have a richer and fuller sounds and as a byproduct created a very dissonant sound (Biamonte, 2010, p. 97). Another in interesting part to grunge’s harmony was its use of “third or cross relations” (McDonald, 2000, p.357) that allows songs that were written in the key of A major and as we determined before C# would be the C note used, however in grunge music the C would incongruently change a minor third to C5 or Cb. This is what author Chris McDonald calls “modal subversion” (McDonald, 2000, p.357). It used constantly in these songs and an example of it would be in “Smells like Teen Spirit” by Nirvana. In this song the key is in F minor and in that scale A is natural but in “Smells like Teen Spirit” the A modulates to Ab (Osborn, 2013, 31) <ref> Osborn, B. (2013). Subverting the Verse–Chorus paradigm; terminally climactic forms in recent rock music. Music Theory Spectrum, 35(1), 23-47. doi:10.1525/mts.2013.35.1.23 <br />
</ref>. This a common theme in many grunge songs and gives its unique sounds, aesthetic, and emotion. <br />
<br><br><br />
=== Rhythm ===<br />
<br><br />
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In music, the rhythm of a song is the time in which a song is played. This can be seen when a person is tapping one’s foot to the beat. The rhythm of the song is very important in creating the emotions of the song due to the fact that it determines how fast the piece is going to be. Encompassed in rhythm are sub-topics of duration, tempo, and meter, which helps the listener and musician to follow the structure of the piece. Rhythm tends to be more the technical part of the song but it carries much importance because without it the song would be a mess of lyrics and instruments without direction. So the duration is the length of time between each note and silence. It is used to bring attention to a certain section of the song because a very long note or silence is jarring to the listener. A silence can bring emphasis to the next note and add a complexity to the tempo of the song. The meter of the song is the repetition of accents and stresses that are arranged into the recognizable beat of the song. In a song, the accented notes tend to be the first note of the measure, however, to create more drama many artists utilize syncopation or the putting of accents on off-beats. The meter is emphasized by the song’s tempo or speed at which the beat is played. It is often known as beats per minute (bpm). The tempo of the song determines the level of excitement and mood of the song. It has been said by Gow that “the time-pattern upon his attention must be the excuse for the common conception of rhythm as the emotional element in music” (Gow, 1915, p. 637) or in layman terms. The pattern of sound, silence, and speed adds significantly to the emotions and feeling drawn from the piece so it is imperative that the artist uses the correct rhythm and tempo for the desired effect. An example of this would be how slow blues music tends to be around the 60 bpm and rock and roll music tends to be about 175 bpm. (Gow, 1915, p. 637- 642)<ref> Gow, G. (1915). Rhythm: The Life of Music. The Musical Quarterly, 1(4), 637-652. Retrieved from http://www.jstor.org/stable/738071 </ref> <br />
<br> <br> <br />
Grunge music is all about the aesthetic of the music and many times it is difficult to derive the meaning of the lyrics due to the vocal quality or symbolic meaning of the lyrics. So it’s imperative to set the right tone via the rhythm because without that the song could be changed from a very dark and emotional piece to one that sounds happy and light. Therefore, the duration of the notes and silences have to create drama and angst. The meter must accentuate the right beat and word of the lyrics to make them pop. One consistency round most grunge music is its timed meter, which was 4/4 time or four beats per measure. The emphasis on notes tended to be inconsistent though because it was really dependent on the lyrics. Some songs did use accents of off-beats to draw more attention to one part or another. Meter also creates the structure to the song. Without that the song has very similar and boring notes with no structure. The tempo has to give the song the right attitude. So in grunge music artists wanted a tempo to reflect sadness and depression that they often felt, but they but they wanted to be interesting and attention grabbing. So many artist chooses tempos from around 90-120 (bpm) there was no exact range to the tempos. It was really up to the musician’s ear. However, one can tell that the artist chose the right tempo, if the emotions were portrayed foremost in the music. A good example would be to speed up or slow down a grunge song.<br />
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When that is done, ignoring the higher pitch of Cobain's voice, it is obvious that one will not get the same emphasis on themes of the music leaving the song useless to the artist. The grunge artist needed the aesthetic of angst and pain to drip from the lyrics to get his point across. <br />
<br> <br><br />
=== Dynamics ===<br />
<br><br />
The dynamics of a song is the loudness and or softness at which the song is played at. A song can be played very loudly, fortissimo, or very softly, pianissimo, and it would create a different interpretation of the song. Some genres of music tend to produce quieter music while others like to blast their audience with their music. An artist can also have a range of volumes with many choosing sections of their song to be quieter to emphasize the words or the music’s complexity and others sections being softer to portray emotions. Sometimes the artist wants to create a buildup of tension in the song so he or she will use a crescendo, getting louder, or a decrescendo, getting softer to achieve it. Another part of dynamics, which was touched on in rhythm, is accenting a note or “leaning into a note” <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017. </ref> and it creates a unique sound. It is important to use dynamics because it keeps the music interesting. A lovely example that many people have probably heard before would be in Richard Strauss's Also Sprach Zarathustra, Op. 30. <br><br />
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It starts our pianissimo and then crescendos to fortissimo until it is absolutely blaring. These dynamics are meant to grab the attention of the audience and awaken anyone who has fallen asleep during the very quiet part. Dynamics are an important part of the music creation process due to the fact that a combination of these dynamics creates the genre's signature style. Hardcore rock is known to bombard their audience with sound while other genres such as country tend to have a moderate volume. <br />
<br><br><br />
Dynamics is another really important element in grunge music because it can be used as an emphasis on particular parts of the song. The song could go from a verse of quiet reflection to a chorus of raging anger. This element is interlinked with all of the other elements to create the song the way that artist meant to portray it. Many of the grunge artists use dynamics to emphasize the themes of the song. So while many songs of the grunge genre do tend to vacillate between very loud and quiet, not every song does. It all depends on the themes and emotions of the songs. An example of the differences would be comparing the dynamics of Black Hole Sun by Soundgarden and Glycerine by Bush. They are both classified under the genre of grunge music, but they have totally different dynamics. In Black Hole Sun, the first verse starts out pretty quiet to emphasize the almost euphoric nature of words and the invisibility the singer feels. Then in the chorus, there is a large increase in volume which tries to capture the anger and pain of his invisibility. However, in Glycerine, the verse starts out pretty quiet and has a mournful tone and it crescendos ever so slightly into the chorus which is still mournful plus a bit remorseful also. The dynamics are used in grunge as an emphasis on certain feelings and emotions and though some do have a pattern of a quite verse and loud chorus some use other dynamics to get their point across. <br />
<br><br><br />
=== Form ===<br />
<br><br />
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In music, the element of form is a combination of the repetition, contrast, and continuity that creates a song’s uniqueness. The form is very dependent on the other elements of music because it is the way the music is arranged. There is a mixture of musical ideas that are carefully arranged to create the meaning behind the music, which is illustrated when the chorus, speaking both lyrically and instrumentally, is repeated. To differentiate the diversions in music, letters such as A, B, C, are used. This is used determine the slight variation in musical patterns. Repetition is often utilized in form to set the theme of the song. This is seen when the chorus is repeated or the verse lyrics change and music stays the same. Repetition in music is known to create continuity and is usually done with a catchy chorus. Contrarily when there is a change or contrast in music, it is often used to note a shift in mood. The form includes a myriad of types including strophic, binary, verse/chorus song, and ternary forms. These types of forms are derived from the repetition, contrast, and continuity referred to previously. The strophic form is when the same music is repeated over and over for several verses of music. This is the most basic form, which lacks contrast and is all repetition. The message the song is trying to portray is usually very elementary. In the binary form, there are two parts. It uses contrast to highlight the question answer music phrasing between the similar phrasing contrasting section. A combination between the binary and strophic forms is the Verse/ Chorus Song form. It alternates between the storytelling verses, which contain different lyrics each verse, and the recurring chorus. <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017</ref>. It creates the feeling of familiarity and allows for many ideas and feelings to be told and then reiterated in the chorus, which is very important in grunge music. The last form being covered is the ternary from. It is a three-part form that has a repletion of the first verse, with different lyrics, which then processes to the chorus and returns back to the theme of the first verse. The form is very diverse in music and can evoke different emotions. So one can see how important it is to grunge music because of its ability to highlight the different parts of the song through repetition, contrast, and continuity. <br />
<br><br><br />
Grunge music is primarily about emotions and social issues that plagued many of the youth during that time, so it is very important to have the music bring attention to these issues through the phrasing of the chorus and verses. Songs In the 1990’s many rock songs followed a verse-chorus form, which Brad Osborn likes to call the “verse-chorus paradigm” (Osborn, 2013, p. 23). <ref> Osborn, B. (2013). Subverting the Verse–Chorus Paradigm: Terminally Climactic Forms in Recent Rock Music. Music Theory Spectrum, 35(1), 23-47. doi:10.1525/mts.2013.35.1.23 </ref> or in less layman terms a verse-chorus pattern. Osborn then quotes John Covach who says “In a verse-chorus [form]...the focus of the song is squarely on the chorus...[T]he verses serve primarily to prepare the return of the chorus’’ (Osborn, 2013, p. 23) and this makes the song sound like it’s using the chorus as the main bringer of emotion to the song. Many grunge songs, due to the fact that they are part of the rock genre, did use this form. It allowed many of the emotions of the first verse to be realized and then an overall feeling of dissatisfaction to be released about these feelings. This can especially be seen in “Heart-Shaped Box” by Nirvana, which starts with verse 1 <div style="text-align: center;"> She eyes me like a Pisces when I am weak <br><br />
I've been locked inside your heart-shaped box for weeks <br><br />
I've been drawn into your magnetar pit trap trap <br><br />
I wish I could eat your cancer when you turn black<ref> https://play.google.com/music/preview/Ttdyvwmcelupwuxwf6fsabw2qwq?lyrics=1&utm_source=google&utm_medium=search&utm_campaign=lyrics&pcampaignid=kp-lyrics </ref> </div><br>. The music plays on the use of the verse-chorus form to highlight the emotions of feeling trapped and helpless, which are then built on during the chorus <div style="text-align: center;"> Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice <br><br />
Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice<br><br />
Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice, your advice<ref> https://play.google.com/music/preview/Ttdyvwmcelupwuxwf6fsabw2qwq?lyrics=1&utm_source=google&utm_medium=search&utm_campaign=lyrics&pcampaignid=kp-lyrics </ref> </div><br>. The chorus is emphasizing the trapped feeling the singer is feeling, which he compares to debt. He feels that he is ever in debt and trapped. The next verse, which is musically a mirror of the first verse, but the lyrics speak of the great helpless he feels. This form allows great emphasis on the chorus and it also climaxes at the end when the last chorus is repeated. However, not every grunge song contained this form. In Glycerine by Bush, the song has a much different form, but still allows the emotions of sorrow and regret be portrayed to the audience. <br />
It’s all about the emotions being reached. They did not need to use this form to release and tell all of the audience their problems. It can be reached just as well with other songs <br />
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<br />
== Musical analysis of songs ==<br />
<br><br />
Taking what has been learned about harmony, rhythm, dynamics, and form and its importance to grunge music now lets look at some songs created in the "grunge" music style. Find out more about grunge music and its history [[Grunge in London|here]]. <br />
<br><br><br />
{| class="wikitable" width="80%"<br />
|-<br />
! scope="row"| Grunge Music of the Late 1980's - Mid 1990's<br />
|-<br />
! Musical Elements <br />
! Heart Shaped Box <br />
! Black Hole Sun <br />
! Creep<br />
! Glycerine <br />
! Man in the Box<br />
|-<br />
! scope="row"| Artist <br />
| align="center"| Nirvana <br />
| align="center"| Soundgarden <br />
| align="center"| Radiohead<br />
| align="center"| Bush <br />
| align="center"| Alice in Chains <br />
|-<br />
! scope="row"| Rhythm<br />
| align="center"| <br />
* Time Signature: 4/4<br />
*Tempo: Moderately (108 - 120 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: 120 bpm<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: (90-93 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: Moderately (112-116 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: Moderately (107-109 bpm)<br />
|-<br />
! scope="row"| Harmony<br />
| align="center"| <br />
* Key: A minor<br />
*Major Chords: A5, F5, D5/ A, F5, D7<br />
*Chord Progressions: A5, F5, D5, A, D7<br />
| align="center"|<br />
* Key: F major<br />
*Major Chords: Gsus, G6, Bb6, F5, Em<br />
| align="center"|<br />
* Key: G major<br />
*Major Chords: G, B, C, Cm<br />
*Chord Progressions: G, B, C, Cm<br />
| align="center"|<br />
* Key: F major<br />
*Major Chords: F, C5, D5, Bb5<br />
*Chord Progressions: F, C5, D5, Bb5<br />
| align="center"|<br />
* Key: E minor <br />
* Major Chords: Em, E5, G, D, A<br />
*Chord Progressions: G5 G6 G5 G6 C E5<br />
|-<br />
! scope="row"| Dynamics <br />
| align="center"| <br />
*quite verse and roaring chorus <br />
| align="center"|<br />
*quite verse and roaring chorus <br />
| align="center"|<br />
*quite verse and roaring chorus <br />
*crescendo to chorus <br />
*decrescendo to verse <br />
| align="center"|<br />
*quite crescendo loud moderate level<br />
| align="center"|<br />
*moderate <br />
|-<br />
! scope="row"| Form <br />
| align="center"| <br />
*verse/chorus song form <br />
| align="center"|<br />
*verse/chorus song form <br />
| align="center"|<br />
*verse/chorus song form<br />
| align="center"|<br />
* verse/chorus/ bridge form <br />
| align="center"|<br />
*Working on it <br />
|- ABABB Form <br />
|}<br />
<br />
=Section 2: Elements to writing a grunge song=<br />
<br><br />
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[[File: ProjectPicture.jpg|x320px|right|thumb| Additional Image]]<br><br />
So now that we have a solid understanding of what the harmony, rhythm, dynamics, and form are and how they are used in grunge music, we are now ready to write a song that emphasises the true elements of grunge music. Here we are going step by step to identify how to create one of these grunge songs. If one is not familiar with a lot of grunge music, I would suggest looking at my page [[Grunge in London| Grunge in London]]. That page will give you more background and information about the grunge era with some of its iconic songs from artists both from America and London. <br />
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<br />
=== Rhythm ===<br />
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...use as many subsections or main sections as you need to support the claims for why what you did related to your ''Background'' section...<br />
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=== Harmony ===<br />
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...use as many subsections or main sections as you need to support the claims for why what you did related to your ''Background'' section...<br />
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=== Dynamics ===<br />
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=== Form ===<br />
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=Conclusion=<br />
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In this section, provide a summary or recap of your work, as well as potential areas of further inquiry (for yourself, future students, or other researchers). <br />
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=External Links=<br />
If appropriate, add an external links section<br />
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=Image Gallery=<br />
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=References=<br />
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[[Category:Music Projects]]<br />
[[Category:2017]]<br />
<br><br></div>Kfconroyhttps://londonhuawiki.wpi.edu/index.php?title=Music_Theory_behind_Grunge_Music&diff=17955Music Theory behind Grunge Music2017-06-21T10:35:47Z<p>Kfconroy: </p>
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by [[User:Kfconroy|Katharine Conory]]<br><br />
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<br />
<br />
=Abstract=<br />
The objective of this milestone is to take all that I have learned from my Grunge in London Capstone to analysis the music under the lens of music theory. I hope to be able to see what grunge music has to offer by way of harmony, rhythm, dynamics, and form, which are some of the elements of all music. Grunge music was a very special genre in which had a pretty distinct sound and attitude, but no real form to it. So in order to determine if there is a real “formula” to grunge music, a genre of rock, I am distinguishing from the alternative music of that time that did not count under the umbrella of grunge. For my deliverable, I am taking all that I learned from this analysis of grunge music from a music theory background to create my own guide to what a grunge song would contain in the way of harmony, rhythm, dynamics and form with examples of what I would do. <br> <br><br />
For this project, I am drawing back on my past experience with music theory and my violin background. This is slightly challenging due to the fact that harmony for a violin is much simpler for a violin than a guitar. In high school, I took several music classes and was in both chorus and band. I hope to gain more knowledge about music theory and help others understand music as well. <br />
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<br />
=Introduction=<br />
This project is meant to introduce those who enjoy music to the music theory or backbone of music that makes it sounds a certain way or gives it a certain emotion. Music is defined by its elements, which allows a certain genre of music sounds different than another. So, I distinguished four important elements of music and did an in-depth analysis of each with a comparison of grunge to popular rock music of that time. From that analysis, I then produced a guide to producing my own gunge song with examples of what I would do. <br> <br><br />
In my research, I found that grunge was more covered as a social and ethical topic with little being covered about the music itself. It was difficult to find much on the elements of music in respect to the grunge genre itself, but I did find some info on it under the umbrella of alternative. I discovered that its sound and style was primarily based off of the music’s harmony with the rhythm, form, and dynamics still very important to its overall sound. But, there was no real pattern to the music. Together in had a unique sound due to the harmonic practices, but what really kept the genre a genre was the music’s attitude and the taboo topics it tried to address. Each artist has its own unique style and sound but they all fell into the same genre. This project needs more research to fully grasp the musical differences between grunge music and the popular rock of the time. <br />
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<br />
=Section 1: Background=<br />
Grunge was a style choice, a cultural movement and most importantly a music style that appeared in the late 1980’s to the early 1990’s, which songs had focused on topics of a taboo nature such as alienation, depression, and suicide. The movement focused on using their music to enlighten those around them about the problems that they were suffering from, which resonated very well with the youth who were also facing many of those issues. It was very popular and topped many of the more well-known artists. It had a new an appealing sound that differed from the rock and pop music of day. Grunge music is considered to be a sub-genre of rock with heavy overlap with other rock subgenres such as alternative, metal, and punk <ref> STRONG, C. (2016). GRUNGE: music and memory. S.l.: ROUTLEDGE. </ref>.The music contained a dirty and raw sound guitar sound, which gave the genre its name. This music has a significant effect on the culture of the Seattle area where is was started, which is no surprise due to the fact that music has always been a major component of cultural changes in society. There have been many scholarly articles citing its importance and during this time there was a major shift in attitudes towards the world and the people who lived in it, which emphasized the feelings correlated to alienation, depression, and suicide. However one may ask how music, subtracting the lyrics, could evoke such feelings, which in fact brings me to the focus of this capstone; the music theory behind grunge music that gave it its unique sound. <br><br> <br />
The music theory behind grunge music will explain how this music became so unique, but this calls into question of the definition music. In the most literal idea, one can see music as “vibrations in the air that are observed by us and then interpreted as sounds. These sounds play out over time, meaning that music is, therefore, sound over time” <ref> Samama, L., & Clements, D. (2016). What is music? In The Meaning of Music (pp. 27-31). Amsterdam University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/j.ctt1b9x1ts.5</ref>. However, that is way too literal and would infer that all sounds are music like all paintings are works of art. Music is way more sophisticated and can be seen as “multi-dimensional (and a) multimedia phenomenon’’ <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017.</ref>. Therefore music is grouped into seven different elements, which are rhythm, dynamics, melody, harmony, tone color, texture, and form to help identify the key differences between grunge music and say rap. These elements added to the sound and identity of the genre, so much so it stood out from the rest of the alternative genre, which grunge was a subgenre of, during that era. Below I have chosen 4 elements I feel distinguished the grunge genre of from that which was popular during the 1990’s and created the special sound to the music that allowed the artists to express their emotions. <br><br> <br />
<br />
==Musical Elements ==<br />
===Harmony === <br />
<br><br />
Harmony is very important to the creation of music, due to the fact it the way notes are played in relation to each other. This is a very technical and complex element of music that can be fairly hard to understand, so it is important to start at the beginning. There are seven notes in all of the music, not including all of the flats and sharps, A, B, C, D, E, F, G and these are the building blocks on which songs can then be built. The full list of notes which contain all the flats (b) and sharps (#) starting at A is'''A''', A#/Bb, '''B''', C, '''C#/Db''', '''D''', D#/Eb, '''E''', F, '''F#/Gb''', G, '''G#/Ab''', '''A''' and follows a pattern of 2212221, which gives a scale of A major. The pattern is followed by the bolded letters produces A, B, C#, D, E, F#, G#, A as the A Major Scale. From the scale, one can then produce all of the chords that can be made from that key. A chord is several notes played together to that are separated by thirds, which produce notes that compliment each other very well. The chords for an A major key would contain AC#E I (major), BDF# ii (minor), C#EG# iii (minor), DF#A IV (major), EG#B V (major), F#AC# vi (minor), G#BD vii0 (diminished). To form these 3 note chords, one takes the scale and starts at the first note in the scale, which in our case is A. Then, skip the next note, B, and chose C# to do this again for the third and last note of the chord. Your final chord will be AC#E, which is a major chord and they you do it for B, C#, etc. for the rest of the chords until you come back to your original note A. The chords are in a pattern of major, minor, minor, major, major, minor, and diminished, which are shown by the capitalized Roman numerals rather than the lower case ones and the 0 at the end means diminished. Another name this goes by is diatonic harmony and all this is the way notes relate with each other in a certain key. All of this can be replicated for all of the other keys in music to get chords. These chords then can be played in succession after one another and produce a chord progression. Some commonly used chord progressions in the key of A are ADE (I – IV- V) and BEA (ii-V-I). These chords and chord progression are what creates the harmony in the song and they are often used in term of how harsh they sound. The harshness of chords is quantified into dissonance and consonance. Dissonance is a very harsh sounding harmony and its chords known for creating tension in a piece. Consonance is a smooth sounding harmony that creates consonant chords, which resolves tension created by the dissonant chords. Chords are very important to music because it truly creates the mood of the music. More dissonant sounding music sounds almost unstable, eerie and sad. A really good example is Mozart’s Quartetto K. 465 "delle dissonanze" <htmltag tagname="iframe" id= width="200" height="150" src="https://www.youtube.com/embed/08uY0-ehL-w" frameborder="0" allowfullscreen></htmltag> One can hear the very dissonant beginning and then throughout the rest of the piece, one can hear how dissonance is resolved by consonance. <br />
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=== Rhythm ===<br />
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In music, the rhythm of a song is the time in which a song is played. This can be seen when a person is tapping one’s foot to the beat. The rhythm of the song is very important in creating the emotions of the song due to the fact that it determines how fast the piece is going to be. Encompassed in rhythm are sub-topics of duration, tempo, and meter, which helps the listener and musician to follow the structure of the piece. Rhythm tends to be more the technical part of the song but it carries much importance because without it the song would be a mess of lyrics and instruments without direction. So the duration is the length of time between each note and silence. It is used to bring attention to a certain section of the song because a very long note or silence is jarring to the listener. A silence can bring emphasis to the next note and add a complexity to the tempo of the song. The meter of the song is the repetition of accents and stresses that are arranged into the recognizable beat of the song. In a song, the accented notes tend to be the first note of the measure, however, to create more drama many artists utilize syncopation or the putting of accents on off-beats. The meter is emphasized by the song’s tempo or speed at which the beat is played. It is often known as beats per minute (bpm). The tempo of the song determines the level of excitement and mood of the song. It has been said by Gow that “the time-pattern upon his attention must be the excuse for the common conception of rhythm as the emotional element in music” (Gow, 1915, p. 637) or in layman terms. The pattern of sound, silence, and speed adds significantly to the emotions and feeling drawn from the piece so it is imperative that the artist uses the correct rhythm and tempo for the desired effect. An example of this would be how slow blues music tends to be around the 60 bpm and rock and roll music tends to be about 175 bpm. (Gow, 1915, p. 637- 642)<ref> Gow, G. (1915). Rhythm: The Life of Music. The Musical Quarterly, 1(4), 637-652. Retrieved from http://www.jstor.org/stable/738071 </ref> <br />
<br> <br> <br />
Grunge music is all about the aesthetic of the music and many times it is difficult to derive the meaning of the lyrics due to the vocal quality or symbolic meaning of the lyrics. So it’s imperative to set the right tone via the rhythm because without that the song could be changed from a very dark and emotional piece to one that sounds happy and light. Therefore, the duration of the notes and silences have to create drama and angst. The meter must accentuate the right beat and word of the lyrics to make them pop. One consistency round most grunge music is its timed meter, which was 4/4 time or four beats per measure. The emphasis on notes tended to be inconsistent though because it was really dependent on the lyrics. Some songs did use accents of off-beats to draw more attention to one part or another. Meter also creates the structure to the song. Without that the song has very similar and boring notes with no structure. The tempo has to give the song the right attitude. So in grunge music artists wanted a tempo to reflect sadness and depression that they often felt, but they but they wanted to be interesting and attention grabbing. So many artist chooses tempos from around 90-120 (bpm) there was no exact range to the tempos. It was really up to the musician’s ear. However, one can tell that the artist chose the right tempo, if the emotions were portrayed foremost in the music. A good example would be to speed up or slow down a grunge song.<br />
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When that is done, ignoring the higher pitch of Cobain's voice, it is obvious that one will not get the same emphasis on themes of the music leaving the song useless to the artist. The grunge artist needed the aesthetic of angst and pain to drip from the lyrics to get his point across. <br />
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<br />
=== Dynamics ===<br />
<br><br />
The dynamics of a song is the loudness and or softness at which the song is played at. A song can be played very loudly, fortissimo, or very softly, pianissimo, and it would create a different interpretation of the song. Some genres of music tend to produce quieter music while others like to blast their audience with their music. An artist can also have a range of volumes with many choosing sections of their song to be quieter to emphasize the words or the music’s complexity and others sections being softer to portray emotions. Sometimes the artist wants to create a buildup of tension in the song so he or she will use a crescendo, getting louder, or a decrescendo, getting softer to achieve it. Another part of dynamics, which was touched on in rhythm, is accenting a note or “leaning into a note” <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017. </ref> and it creates a unique sound. It is important to use dynamics because it keeps the music interesting . A lovely example that many people have probably heard before would be in Richard Strauss's Also sprach Zarathustra, Op. 30. <br><br />
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It starts our pianissimo and then crescendos to fortissimo until it is absolutely blaring. These dynamics are meant to grab the attention of the audience and awaken anyone who has fallen asleep during the very quiet part. Dynamics are an important part of the music creation process due to the fact that a combination of these dynamics creates the genre's signature style. Hardcore rock is known to bombard their audience with sound while other genres such as country tend to have a moderate volume. <br />
<br><br><br />
Dynamics is another really important element in grunge music because it can be used as an emphasis on particular parts of the song. The song could go from a verse of quiet reflection to a chorus of raging anger. This element is interlinked with all of the other elements to create the song the way that artist meant to portray it. Many of the grunge artists use dynamics to emphasize the themes of the song. So while many songs of the grunge genre do tend to vacillate between very loud and quiet, not every song does. It all depends on the themes and emotions of the songs. An example of the differences would be comparing the dynamics of Black Hole Sun by Soundgarden and Glycerine by Bush. They are both classified under the genre of grunge music, but they have totally different dynamics. In Black Hole Sun, the first verse starts out pretty quiet to emphasize the almost euphoric nature of words and the invisibility the singer feels. Then in the chorus, there is a large increase in volume which tries to capture the anger and pain of his invisibility. However, in Glycerine , the verse starts out pretty quiet and has a mournful tone and it crescendos ever so slightly into the chorus which is still mournful plus a bit remorseful also. The dynamics are used in grunge as an emphasis on certain feelings and emotions and though some do have a pattern of a quite verse and loud chorus some use other dynamics to get their point across. <br />
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=== Form ===<br />
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In music, the element of form is a combination of the repetition, contrast, and continuity that creates a song’s uniqueness. The form is very dependent on the other elements of music because it is the way the music is arranged. There is a mixture of musical ideas that are carefully arranged to create the meaning behind the music, which is illustrated when the chorus, speaking both lyrically and instrumentally, is repeated. To differentiate the diversions in music, letters such as A, B, C, are used. This is used determine the slight variation in musical patterns. Repetition is often utilized in form to set the theme of the song. This is seen when the chorus is repeated or the verse lyrics change and music stays the same. Repetition in music is known to create continuity and is usually done with a catchy chorus. Contrarily when there is a change or contrast in music, it is often used to note a shift in mood. The form includes a myriad of types including strophic, binary, verse/chorus song, and ternary forms. These types of forms are derived from the repetition, contrast, and continuity referred to previously. The strophic form is when the same music is repeated over and over for several verses of music. This is the most basic form, which lacks contrast and is all repetition. The message the song is trying to portray is usually very elementary. In the binary form, there are two parts. It uses contrast to highlight the question answer music phrasing between the similar phrasing contrasting section. A combination between the binary and strophic forms is the Verse/ Chorus Song form. It alternates between the storytelling verses, which contain different lyrics each verse, and the recurring chorus. <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017</ref>. It creates the feeling of familiarity and allows for many ideas and feelings to be told and then reiterated in the chorus, which is very important in grunge music. The last form being covered is the ternary from. It is a three-part form that has a repletion of the first verse, with different lyrics, which then processes to the chorus and returns back to the theme of the first verse. The form is very diverse in music and can evoke different emotions. So one can see how important it is to grunge music because of its ability to highlight the different parts of the song through repetition, contrast, and continuity. <br />
<br><br><br />
Grunge music is primarily about emotions and social issues that plagued many of the youth during that time, so it is very important to have the music bring attention to these issues through the phrasing of the chorus and verses. Songs In the 1990’s many rock songs followed a verse-chorus form, which Brad Osborn likes to call the “verse-chorus paradigm” (Osborn, 2013, p. 23). <ref> Osborn, B. (2013). Subverting the Verse–Chorus Paradigm: Terminally Climactic Forms in Recent Rock Music. Music Theory Spectrum, 35(1), 23-47. doi:10.1525/mts.2013.35.1.23 </ref> or in less layman terms a verse-chorus pattern. Osborn then quotes John Covach who says “In a verse-chorus [form]...the focus of the song is squarely on the chorus...[T]he verses serve primarily to prepare the return of the chorus’’ (Osborn, 2013, p. 23) and this makes the song sound like it’s using the chorus as the main bringer of emotion to the song. Many grunge songs, due to the fact that they are part of the rock genre, did use this form. It allowed many of the emotions of the first verse to be realized and then an overall feeling of dissatisfaction to be released about these feelings. This can especially be seen in “Heart-Shaped Box” by Nirvana, which starts with verse 1 <div style="text-align: center;"> She eyes me like a Pisces when I am weak <br><br />
I've been locked inside your heart-shaped box for weeks <br><br />
I've been drawn into your magnetar pit trap trap <br><br />
I wish I could eat your cancer when you turn black<ref> https://play.google.com/music/preview/Ttdyvwmcelupwuxwf6fsabw2qwq?lyrics=1&utm_source=google&utm_medium=search&utm_campaign=lyrics&pcampaignid=kp-lyrics </ref> </div><br>. The music plays on the use of the verse-chorus from to highlight the emotions of feeling trapped and helpless, which are then built on during the chorus <div style="text-align: center;"> Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice <br><br />
Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice<br><br />
Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice, your advice<ref> https://play.google.com/music/preview/Ttdyvwmcelupwuxwf6fsabw2qwq?lyrics=1&utm_source=google&utm_medium=search&utm_campaign=lyrics&pcampaignid=kp-lyrics </ref> </div><br>. The chorus is emphasizing the trapped feeling the singer is feeling, which he compares to debt. He feels that he is ever in debt and trapped. The next verse, which is musically a mirror of the first verse, but the lyrics speak of the great helpless he feels. This form allows great emphasis on the chorus and it also climaxes at the end when the last chorus is repeated. However, not every grunge song contained this form. In Glycerine by Bush, the song has a much different form, but still allows the emotions of sorrow and regret be portrayed to the audience. <br />
It’s all about the emotions being reached. They did not need to use this form to release and tell all of the audience their problems. It can be reached just as well with other songs <br />
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== Musical analysis of songs ==<br />
<br><br />
Taking what has been learned about harmony, rhythm, dynamics, and form and its importance to grunge music now lets look at some songs created in the "grunge" music style. Find out more about grunge music and its history [[Grunge in London|here]]. <br />
<br><br><br />
{| class="wikitable" width="80%"<br />
|-<br />
! scope="row"| Grunge Music of the Late 1980's - Mid 1990's<br />
|-<br />
! Musical Elements <br />
! Heart Shaped Box <br />
! Black Hole Sun <br />
! Creep<br />
! Glycerine <br />
! Man in the Box<br />
|-<br />
! scope="row"| Artist <br />
| align="center"| Nirvana <br />
| align="center"| Soundgarden <br />
| align="center"| Radiohead<br />
| align="center"| Bush <br />
| align="center"| Alice in Chains <br />
|-<br />
! scope="row"| Rhythm<br />
| align="center"| <br />
* Time Signature: 4/4<br />
*Tempo: Moderately (108 - 120 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: 120 bpm<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: (90-93 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: Moderately (112-116 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: Moderately (107-109 bpm)<br />
|-<br />
! scope="row"| Harmony<br />
| align="center"| <br />
* Key: A minor<br />
*Major Chords: A5, F5, D5/ A, F5, D7<br />
*Chord Progressions: A5, F5, D5, A, D7<br />
| align="center"|<br />
* Key: F major<br />
*Major Chords: Gsus, G6, Bb6, F5, Em<br />
| align="center"|<br />
* Key: G major<br />
*Major Chords: G, B, C, Cm<br />
*Chord Progressions: G, B, C, Cm<br />
| align="center"|<br />
* Key: F major<br />
*Major Chords: F, C5, D5, Bb5<br />
*Chord Progressions: F, C5, D5, Bb5<br />
| align="center"|<br />
* Key: E minor <br />
* Major Chords: Em, E5, G, D, A<br />
*Chord Progressions: G5 G6 G5 G6 C E5<br />
|-<br />
! scope="row"| Dynamics <br />
| align="center"| <br />
*quite verse and roaring chorus <br />
| align="center"|<br />
*quite verse and roaring chorus <br />
| align="center"|<br />
*quite verse and roaring chorus <br />
*crescendo to chorus <br />
*decrescendo to verse <br />
| align="center"|<br />
*quite crescendo loud moderate level<br />
| align="center"|<br />
*moderate <br />
|-<br />
! scope="row"| Form <br />
| align="center"| <br />
*verse/chorus song form <br />
| align="center"|<br />
*verse/chorus song form <br />
| align="center"|<br />
*verse/chorus song form<br />
| align="center"|<br />
* verse/chorus/ bridge form <br />
| align="center"|<br />
*Working on it <br />
|- ABABB Form <br />
|}<br />
<br />
=Section 2: Elements to writing a grunge song=<br />
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[[File: ProjectPicture.jpg|x320px|right|thumb| Additional Image]]<br><br />
So now that we have a solid understanding of what the harmony, rhythm, dynamics, and form are and how they are used in grunge music, we are now ready to write a song that emphasises the true elements of grunge music. Here we are going step by step to identify how to create one of these grunge songs. If one is not familiar with a lot of grunge music, I would suggest looking at my page [[Grunge in London| Grunge in London]]. That page will give you more background and information about the grunge era with some of its iconic songs from artists both from America and London. <br />
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=== Rhythm ===<br />
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...use as many subsections or main sections as you need to support the claims for why what you did related to your ''Background'' section...<br />
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=== Harmony ===<br />
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...use as many subsections or main sections as you need to support the claims for why what you did related to your ''Background'' section...<br />
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=== Dynamics ===<br />
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...and so on and so forth...<br />
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=== Form ===<br />
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...and so on and so forth...<br />
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Image:Yourprofilepicture.jpg|''Caption 4''<br />
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=Conclusion=<br />
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In this section, provide a summary or recap of your work, as well as potential areas of further inquiry (for yourself, future students, or other researchers). <br />
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=External Links=<br />
If appropriate, add an external links section<br />
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=Image Gallery=<br />
If appropriate, add an image gallery<br />
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=References=<br />
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[[Category:Music Projects]]<br />
[[Category:2017]]<br />
<br><br></div>Kfconroyhttps://londonhuawiki.wpi.edu/index.php?title=Music_Theory_behind_Grunge_Music&diff=17919Music Theory behind Grunge Music2017-06-21T09:52:33Z<p>Kfconroy: </p>
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by [[User:Kfconroy|Katharine Conory]]<br><br />
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|label2 = Music Theory behind Grunge music <br />
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__TOC__<br />
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<br />
=Abstract=<br />
The objective of this milestone is to take all that I have learned from my Grunge in London Capstone to analysis the music under the lens of music theory. I hope to be able to see what grunge music has to offer by way of harmony, rhythm, dynamics, and form, which are some of the elements of all music. Grunge music was a very special genre in which had a pretty distinct sound and attitude, but no real form to it. So in order to determine if there is a real “formula” to grunge music, a genre of rock, I am distinguishing from the alternative music of that time that did not count under the umbrella of grunge. For my deliverable, I am taking all that I learned from this analysis of grunge music from a music theory background to create my own guide to what a grunge song would contain in the way of harmony, rhythm, dynamics and form with examples of what I would do. <br> <br><br />
For this project, I am drawing back on my past experience with music theory and my violin background. This is slightly challenging due to the fact that harmony for a violin is much simpler for a violin than a guitar. In high school, I took several music classes and was in both chorus and band. I hope to gain more knowledge about music theory and help others understand music as well. <br />
<br><br><br />
<br />
=Introduction=<br />
This project is meant to introduce those who enjoy music to the music theory or backbone of music that makes it sounds a certain way or gives it a certain emotion. Music is defined by its elements, which allows a certain genre of music sounds different than another. So, I distinguished four important elements of music and did an in-depth analysis of each with a comparison of grunge to popular rock music of that time. From that analysis, I then produced a guide to producing my own gunge song with examples of what I would do. <br> <br><br />
In my research, I found that grunge was more covered as a social and ethical topic with little being covered about the music itself. It was difficult to find much on the elements of music in respect to the grunge genre itself, but I did find some info on it under the umbrella of alternative. I discovered that its sound and style was primarily based off of the music’s harmony with the rhythm, form, and dynamics still very important to its overall sound. But, there was no real pattern to the music. Together in had a unique sound due to the harmonic practices, but what really kept the genre a genre was the music’s attitude and the taboo topics it tried to address. Each artist has its own unique style and sound but they all fell into the same genre. This project needs more research to fully grasp the musical differences between grunge music and the popular rock of the time. <br />
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<br />
=Section 1: Background=<br />
Grunge was a style choice, a cultural movement and most importantly a music style that appeared in the late 1980’s to the early 1990’s, which songs had focused on topics of a taboo nature such as alienation, depression, and suicide. The movement focused on using their music to enlighten those around them about the problems that they were suffering from, which resonated very well with the youth who were also facing many of those issues. It was very popular and topped many of the more well-known artists. It had a new an appealing sound that differed from the rock and pop music of day. Grunge music is considered to be a sub-genre of rock with heavy overlap with other rock subgenres such as alternative, metal, and punk <ref> STRONG, C. (2016). GRUNGE: music and memory. S.l.: ROUTLEDGE. </ref>.The music contained a dirty and raw sound guitar sound, which gave the genre its name. This music has a significant effect on the culture of the Seattle area where is was started, which is no surprise due to the fact that music has always been a major component of cultural changes in society. There have been many scholarly articles citing its importance and during this time there was a major shift in attitudes towards the world and the people who lived in it, which emphasized the feelings correlated to alienation, depression, and suicide. However one may ask how music, subtracting the lyrics, could evoke such feelings, which in fact brings me to the focus of this capstone; the music theory behind grunge music that gave it its unique sound. <br><br> <br />
The music theory behind grunge music will explain how this music became so unique, but this calls into question of the definition music. In the most literal idea, one can see music as “vibrations in the air that are observed by us and then interpreted as sounds. These sounds play out over time, meaning that music is, therefore, sound over time” <ref> Samama, L., & Clements, D. (2016). What is music? In The Meaning of Music (pp. 27-31). Amsterdam University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/j.ctt1b9x1ts.5</ref>. However, that is way too literal and would infer that all sounds are music like all paintings are works of art. Music is way more sophisticated and can be seen as “multi-dimensional (and a) multimedia phenomenon’’ <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017.</ref>. Therefore music is grouped into seven different elements, which are rhythm, dynamics, melody, harmony, tone color, texture, and form to help identify the key differences between grunge music and say rap. These elements added to the sound and identity of the genre, so much so it stood out from the rest of the alternative genre, which grunge was a subgenre of, during that era. Below I have chosen 4 elements I feel distinguished the grunge genre of from that which was popular during the 1990’s and created the special sound to the music that allowed the artists to express their emotions. <br><br> <br />
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==Musical Elements ==<br />
===Harmony === <br />
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Harmony is very important to the creation of music, due to the fact it the way notes are played in relation to each other. This is a very technical and complex element of music that can be fairly hard to understand, so it is important to start at the beginning. There are seven notes in all of the music, not including all of the flats and sharps, A, B, C, D, E, F, G and these are the building blocks on which songs can then be built. The full list of notes which contain all the flats (b) and sharps (#) starting at A is'''A''', A#/Bb, '''B''', C, '''C#/Db''', '''D''', D#/Eb, '''E''', F, '''F#/Gb''', G, '''G#/Ab''', '''A''' and follows a pattern of 2212221, which gives a scale of A major. The pattern is followed by the bolded letters produces A, B, C#, D, E, F#, G#, A as the A Major Scale. From the scale, one can then produce all of the chords that can be made from that key. A chord is several notes played together to that are separated by thirds, which produce notes that compliment each other very well. The chords for an A major key would contain AC#E I (major), BDF# ii (minor), C#EG# iii (minor), DF#A IV (major), EG#B V (major), F#AC# vi (minor), G#BD vii0 (diminished). To form these 3 note chords, one takes the scale and starts at the first note in the scale, which in our case is A. Then, skip the next note, B, and chose C# to do this again for the third and last note of the chord. Your final chord will be AC#E, which is a major chord and they you do it for B, C#, etc. for the rest of the chords until you come back to your original note A. The chords are in a pattern of major, minor, minor, major, major, minor, and diminished, which are shown by the capitalized Roman numerals rather than the lower case ones and the 0 at the end means diminished. Another name this goes by is diatonic harmony and all this is the way notes relate with each other in a certain key. All of this can be replicated for all of the other keys in music to get chords. These chords then can be played in succession after one another and produce a chord progression. Some commonly used chord progressions in the key of A are ADE (I – IV- V) and BEA (ii-V-I). These chords and chord progression are what creates the harmony in the song and they are often used in term of how harsh they sound. The harshness of chords is quantified into dissonance and consonance. Dissonance is a very harsh sounding harmony and its chords known for creating tension in a piece. Consonance is a smooth sounding harmony that creates consonant chords, which resolves tension created by the dissonant chords. Chords are very important to music because it truly creates the mood of the music. More dissonant sounding music sounds almost unstable, eerie and sad. A really good example is Mozart’s Quartetto K. 465 "delle dissonanze" <htmltag tagname="iframe" id= width="200" height="150" src="https://www.youtube.com/embed/08uY0-ehL-w" frameborder="0" allowfullscreen></htmltag> One can hear the very dissonant beginning and then throughout the rest of the piece, one can hear how dissonance is resolved by consonance. <br />
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=== Rhythm ===<br />
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In music, the rhythm of a song is the time in which a song is played. This can be seen when a person is tapping one’s foot to the beat. The rhythm of the song is very important in creating the emotions of the song due to the fact that it determines how fast the piece is going to be. Encompassed in rhythm are sub-topics of duration, tempo, and meter, which helps the listener and musician to follow the structure of the piece. Rhythm tends to be more the technical part of the song but it carries much importance because without it the song would be a mess of lyrics and instruments without direction. So the duration is the length of time between each note and silence. It is used to bring attention to a certain section of the song because a very long note or silence is jarring to the listener. A silence can bring emphasis to the next note and add a complexity to the tempo of the song. The meter of the song is the repetition of accents and stresses that are arranged into the recognizable beat of the song. In a song, the accented notes tend to be the first note of the measure, however, to create more drama many artists utilize syncopation or the putting of accents on off-beats. The meter is emphasized by the song’s tempo or speed at which the beat is played. It is often known as beats per minute (bpm). The tempo of the song determines the level of excitement and mood of the song. It has been said by Gow that “the time-pattern upon his attention must be the excuse for the common conception of rhythm as the emotional element in music” (Gow, 1915, p. 637) or in layman terms. The pattern of sound, silence, and speed adds significantly to the emotions and feeling drawn from the piece so it is imperative that the artist uses the correct rhythm and tempo for the desired effect. An example of this would be how slow blues music tends to be around the 60 bpm and rock and roll music tends to be about 175 bpm. (Gow, 1915, p. 637- 642)<ref> Gow, G. (1915). Rhythm: The Life of Music. The Musical Quarterly, 1(4), 637-652. Retrieved from http://www.jstor.org/stable/738071 </ref> <br />
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Grunge music is all about the aesthetic of the music and many times it is difficult to derive the meaning of the lyrics due to the vocal quality or symbolic meaning of the lyrics. So it’s imperative to set the right tone via the rhythm because without that the song could be changed from a very dark and emotional piece to one that sounds happy and light. Therefore, the duration of the notes and silences have to create drama and angst. The meter must accentuate the right beat and word of the lyrics to make them pop. One consistency round most grunge music is its timed meter, which was 4/4 time or four beats per measure. The emphasis on notes tended to be inconsistent though because it was really dependent on the lyrics. Some songs did use accents of off-beats to draw more attention to one part or another. Meter also creates the structure to the song. Without that the song has very similar and boring notes with no structure. The tempo has to give the song the right attitude. So in grunge music artists wanted a tempo to reflect sadness and depression that they often felt, but they but they wanted to be interesting and attention grabbing. So many artist chooses tempos from around 90-120 (bpm) there was no exact range to the tempos. It was really up to the musician’s ear. However, one can tell that the artist chose the right tempo, if the emotions were portrayed foremost in the music. A good example would be to speed up or slow down a grunge song.<br />
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When that is done, ignoring the higher pitch of Cobain's voice, it is obvious that one will not get the same emphasis on themes of the music leaving the song useless to the artist. The grunge artist needed the aesthetic of angst and pain to drip from the lyrics to get his point across. <br />
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=== Dynamics ===<br />
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The dynamics of a song is the loudness and or softness at which the song is played at. A song can be played very loudly, fortissimo, or very softly, pianissimo, and it would create a different interpretation of the song. Some genres of music tend to produce quieter music while others like to blast their audience with their music. An artist can also have a range of volumes with many choosing sections of their song to be quieter to emphasize the words or the music’s complexity and others sections being softer to portray emotions. Sometimes the artist wants to create a buildup of tension in the song so he or she will use a crescendo, getting louder, or a decrescendo, getting softer to achieve it. Another part of dynamics, which was touched on in rhythm, is accenting a note or “leaning into a note” <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017. </ref> and it creates a unique sound. It is important to use dynamics because it keeps the music interesting . A lovely example that many people have probably heard before would be in Richard Strauss's Also sprach Zarathustra, Op. 30. <br><br />
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It starts our pianissimo and then crescendos to fortissimo until it is absolutely blaring. These dynamics are meant to grab the attention of the audience and awaken anyone who has fallen asleep during the very quiet part. Dynamics are an important part of the music creation process due to the fact that a combination of these dynamics creates the genre's signature style. Hardcore rock is known to bombard their audience with sound while other genres such as country tend to have a moderate volume. <br />
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Dynamics is another really important element in grunge music because it can be used as an emphasis on particular parts of the song. The song could go from a verse of quiet reflection to a chorus of raging anger. This element is interlinked with all of the other elements to create the song the way that artist meant to portray it. Many of the grunge artists use dynamics to emphasize the themes of the song. So while many songs of the grunge genre do tend to vacillate between very loud and quiet, not every song does. It all depends on the themes and emotions of the songs. An example of the differences would be comparing the dynamics of Black Hole Sun by Soundgarden and Glycerine by Bush. They are both classified under the genre of grunge music, but they have totally different dynamics. In Black Hole Sun, the first verse starts out pretty quiet to emphasize the almost euphoric nature of words and the invisibility the singer feels. Then in the chorus, there is a large increase in volume which tries to capture the anger and pain of his invisibility. However, in Glycerine , the verse starts out pretty quiet and has a mournful tone and it crescendos ever so slightly into the chorus which is still mournful plus a bit remorseful also. The dynamics are used in grunge as an emphasis on certain feelings and emotions and though some do have a pattern of a quite verse and loud chorus some use other dynamics to get their point across. <br />
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=== Form ===<br />
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In music, the element of form is a combination of the repetition, contrast, and continuity that creates a song’s uniqueness. The form is very dependent on the other elements of music because it is the way the music is arranged. There is a mixture of musical ideas that are carefully arranged to create the meaning behind the music, which is illustrated when the chorus, speaking both lyrically and instrumentally, is repeated. To differentiate the diversions in music, letters such as A, B, C, are used. This is used determine the slight variation in musical patterns. Repetition is often utilized in form to set the theme of the song. This is seen when the chorus is repeated or the verse lyrics change and music stays the same. Repetition in music is known to create continuity and is usually done with a catchy chorus. Contrarily when there is a change or contrast in music, it is often used to note a shift in mood. The form includes a myriad of types including strophic, binary, verse/chorus song, and ternary forms. These types of forms are derived from the repetition, contrast, and continuity referred to previously. The strophic form is when the same music is repeated over and over for several verses of music. This is the most basic form, which lacks contrast and is all repetition. The message the song is trying to portray is usually very elementary. In the binary form, there are two parts. It uses contrast to highlight the question answer music phrasing between the similar phrasing contrasting section. A combination between the binary and strophic forms is the Verse/ Chorus Song form. It alternates between the storytelling verses, which contain different lyrics each verse, and the recurring chorus. <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017</ref>. It creates the feeling of familiarity and allows for many ideas and feelings to be told and then reiterated in the chorus, which is very important in grunge music. The last form being covered is the ternary from. It is a three-part form that has a repletion of the first verse, with different lyrics, which then processes to the chorus and returns back to the theme of the first verse. The form is very diverse in music and can evoke different emotions. So one can see how important it is to grunge music because of its ability to highlight the different parts of the song through repetition, contrast, and continuity. <br />
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Grunge music is primarily about emotions and social issues that plagued many of the youth during that time, so it is very important to have the music bring attention to these issues through the phrasing of the chorus and verses. Songs In the 1990’s many rock songs followed a verse-chorus form, which Brad Osborn likes to call the “verse-chorus paradigm” (Osborn, 2013, p. 23). <ref> Osborn, B. (2013). Subverting the Verse–Chorus Paradigm: Terminally Climactic Forms in Recent Rock Music. Music Theory Spectrum, 35(1), 23-47. doi:10.1525/mts.2013.35.1.23 </ref> or in less layman terms a verse-chorus pattern. Osborn then quotes John Covach who says “In a verse-chorus [form]...the focus of the song is squarely on the chorus...[T]he verses serve primarily to prepare the return of the chorus’’ (Osborn, 2013, p. 23) and this makes the song sound like it’s using the chorus as the main bringer of emotion to the song. Many grunge songs, due to the fact that they are part of the rock genre, did use this form. It allowed many of the emotions of the first verse to be realized and then an overall feeling of dissatisfaction to be released about these feelings. This can especially be seen in “Heart-Shaped Box” by Nirvana, which starts with verse 1 <div style="text-align: center;"> She eyes me like a Pisces when I am weak <br><br />
I've been locked inside your heart-shaped box for weeks <br><br />
I've been drawn into your magnetar pit trap trap <br><br />
I wish I could eat your cancer when you turn black<ref> https://play.google.com/music/preview/Ttdyvwmcelupwuxwf6fsabw2qwq?lyrics=1&utm_source=google&utm_medium=search&utm_campaign=lyrics&pcampaignid=kp-lyrics </ref> </div><br>. The music plays on the use of the verse-chorus from to highlight the emotions of feeling trapped and helpless, which are then built on during the chorus <div style="text-align: center;"> Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice <br><br />
Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice<br><br />
Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice, your advice<ref> https://play.google.com/music/preview/Ttdyvwmcelupwuxwf6fsabw2qwq?lyrics=1&utm_source=google&utm_medium=search&utm_campaign=lyrics&pcampaignid=kp-lyrics </ref> </div><br>. The chorus is emphasizing the trapped feeling the singer is feeling, which he compares to debt. He feels that he is ever in debt and trapped. The next verse, which is musically a mirror of the first verse, but the lyrics speak of the great helpless he feels. This form allows great emphasis on the chorus and it also climaxes at the end when the last chorus is repeated. However, not every grunge song contained this form. In Glycerine by Bush, the song has a much different form, but still allows the emotions of sorrow and regret be portrayed to the audience. <br />
It’s all about the emotions being reached. They did not need to use this form to release and tell all of the audience their problems. It can be reached just as well with other songs <br />
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== Musical analysis of songs ==<br />
<br><br />
Taking what has been learned about harmony, rhythm, dynamics, and form and its importance to grunge music now lets look at some songs created in the "grunge" music style. Find out more about grunge music and its history [[Grunge in London|here]]. <br />
<br><br><br />
{| class="wikitable" width="80%"<br />
|-<br />
! scope="row"| Grunge Music of the Late 1980's - Mid 1990's<br />
|-<br />
! Musical Elements <br />
! Heart Shaped Box <br />
! Black Hole Sun <br />
! Creep<br />
! Glycerine <br />
! Man in the Box<br />
|-<br />
! scope="row"| Artist <br />
| align="center"| Nirvana <br />
| align="center"| Soundgarden <br />
| align="center"| Radiohead<br />
| align="center"| Bush <br />
| align="center"| Alice in Chains <br />
|-<br />
! scope="row"| Rhythm<br />
| align="center"| <br />
* Time Signature: 4/4<br />
*Tempo: Moderately (108 - 120 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: 120 bpm<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: (90-93 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: Moderately (112-116 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: Moderately (107-109 bpm)<br />
|-<br />
! scope="row"| Harmony<br />
| align="center"| <br />
* Key: A minor<br />
*Major Chords: A5, F5, D5/ A, F5, D7<br />
*Chord Progressions: A5, F5, D5, A, D7<br />
| align="center"|<br />
* Key: F major<br />
*Major Chords: Gsus, G6, Bb6, F5, Em<br />
| align="center"|<br />
* Key: G major<br />
*Major Chords: G, B, C, Cm<br />
*Chord Progressions: G, B, C, Cm<br />
| align="center"|<br />
* Key: F major<br />
*Major Chords: F, C5, D5, Bb5<br />
*Chord Progressions: F, C5, D5, Bb5<br />
| align="center"|<br />
* Key: E minor <br />
* Major Chords: Em, E5, G, D, A<br />
*Chord Progressions: G5 G6 G5 G6 C E5<br />
|-<br />
! scope="row"| Dynamics <br />
| align="center"| <br />
*quite verse and roaring chorus <br />
| align="center"|<br />
*quite verse and roaring chorus <br />
| align="center"|<br />
*quite verse and roaring chorus <br />
*crescendo to chorus <br />
*decrescendo to verse <br />
| align="center"|<br />
*quite crescendo loud moderate level<br />
| align="center"|<br />
*moderate <br />
|-<br />
! scope="row"| Form <br />
| align="center"| <br />
*verse/chorus song form <br />
| align="center"|<br />
*verse/chorus song form <br />
| align="center"|<br />
*verse/chorus song form<br />
| align="center"|<br />
* verse/chorus/ bridge form <br />
| align="center"|<br />
*Working on it <br />
|- ABABB Form <br />
|}<br />
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=Section 2: Elements to writing a grunge song=<br />
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[[File: ProjectPicture.jpg|x320px|right|thumb| Additional Image]]<br><br />
In this section, provide your contribution, creative element, assessment, or observation with regard to your background research. This could be a new derivative work based on previous research, or some parallel to other events. In this section, describe the relationship between your background review and your deliverable; make the connection between the two clear. <br />
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=== Rhythm ===<br />
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...use as many subsections or main sections as you need to support the claims for why what you did related to your ''Background'' section...<br />
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=== Harmony ===<br />
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...use as many subsections or main sections as you need to support the claims for why what you did related to your ''Background'' section...<br />
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=== Dynamics ===<br />
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...and so on and so forth...<br />
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=== Form ===<br />
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...and so on and so forth...<br />
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===Gallery===<br />
<gallery mode="packed"><br />
Image:Syllabus.jpg|''Caption 1''<br />
Image:ProjectPicture.jpg|''Caption 2''<br />
Image:Bigben.jpg|''Caption 3''<br />
Image:Yourprofilepicture.jpg|''Caption 4''<br />
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=Conclusion=<br />
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In this section, provide a summary or recap of your work, as well as potential areas of further inquiry (for yourself, future students, or other researchers). <br />
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=External Links=<br />
If appropriate, add an external links section<br />
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=Image Gallery=<br />
If appropriate, add an image gallery<br />
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=References=<br />
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[[Category:Music Projects]]<br />
[[Category:2017]]<br />
<br><br></div>Kfconroyhttps://londonhuawiki.wpi.edu/index.php?title=Music_Theory_behind_Grunge_Music&diff=17915Music Theory behind Grunge Music2017-06-21T09:48:12Z<p>Kfconroy: </p>
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by [[User:Kfconroy|Katharine Conory]]<br><br />
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=Abstract=<br />
The objective of this milestone is to take all that I have learned from my Grunge in London Capstone to analysis the music under the lens of music theory. I hope to be able to see what grunge music has to offer by way of harmony, rhythm, dynamics, and form, which are some of the elements of all music. Grunge music was a very special genre in which had a pretty distinct sound and attitude, but no real form to it. So in order to determine if there is a real “formula” to grunge music, a genre of rock, I am distinguishing from the alternative music of that time that did not count under the umbrella of grunge. For my deliverable, I am taking all that I learned from this analysis of grunge music from a music theory background to create my own guide to what a grunge song would contain in the way of harmony, rhythm, dynamics and form with examples of what I would do. <br> <br><br />
For this project, I am drawing back on my past experience with music theory and my violin background. This is slightly challenging due to the fact that harmony for a violin is much simpler for a violin than a guitar. In high school, I took several music classes and was in both chorus and band. I hope to gain more knowledge about music theory and help others understand music as well. <br />
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=Introduction=<br />
This project is meant to introduce those who enjoy music to the music theory or backbone of music that makes it sounds a certain way or gives it a certain emotion. Music is defined by its elements, which allows a certain genre of music sounds different than another. So, I distinguished four important elements of music and did an in-depth analysis of each with a comparison of grunge to popular rock music of that time. From that analysis, I then produced a guide to producing my own gunge song with examples of what I would do. <br> <br><br />
In my research, I found that grunge was more covered as a social and ethical topic with little being covered about the music itself. It was difficult to find much on the elements of music in respect to the grunge genre itself, but I did find some info on it under the umbrella of alternative. I discovered that its sound and style was primarily based off of the music’s harmony with the rhythm, form, and dynamics still very important to its overall sound. But, there was no real pattern to the music. Together in had a unique sound due to the harmonic practices, but what really kept the genre a genre was the music’s attitude and the taboo topics it tried to address. Each artist has its own unique style and sound but they all fell into the same genre. This project needs more research to fully grasp the musical differences between grunge music and the popular rock of the time. <br />
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=Section 1: Background=<br />
Grunge was a style choice, a cultural movement and most importantly a music style that appeared in the late 1980’s to the early 1990’s, which songs had focused on topics of a taboo nature such as alienation, depression, and suicide. The movement focused on using their music to enlighten those around them about the problems that they were suffering from, which resonated very well with the youth who were also facing many of those issues. It was very popular and topped many of the more well-known artists. It had a new an appealing sound that differed from the rock and pop music of day. Grunge music is considered to be a sub-genre of rock with heavy overlap with other rock subgenres such as alternative, metal, and punk <ref> STRONG, C. (2016). GRUNGE: music and memory. S.l.: ROUTLEDGE. </ref>.The music contained a dirty and raw sound guitar sound, which gave the genre its name. This music has a significant effect on the culture of the Seattle area where is was started, which is no surprise due to the fact that music has always been a major component of cultural changes in society. There have been many scholarly articles citing its importance and during this time there was a major shift in attitudes towards the world and the people who lived in it, which emphasized the feelings correlated to alienation, depression, and suicide. However one may ask how music, subtracting the lyrics, could evoke such feelings, which in fact brings me to the focus of this capstone; the music theory behind grunge music that gave it its unique sound. <br><br> <br />
The music theory behind grunge music will explain how this music became so unique, but this calls into question of the definition music. In the most literal idea, one can see music as “vibrations in the air that are observed by us and then interpreted as sounds. These sounds play out over time, meaning that music is, therefore, sound over time” <ref> Samama, L., & Clements, D. (2016). What is music? In The Meaning of Music (pp. 27-31). Amsterdam University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/j.ctt1b9x1ts.5</ref>. However, that is way too literal and would infer that all sounds are music like all paintings are works of art. Music is way more sophisticated and can be seen as “multi-dimensional (and a) multimedia phenomenon’’ <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017.</ref>. Therefore music is grouped into seven different elements, which are rhythm, dynamics, melody, harmony, tone color, texture, and form to help identify the key differences between grunge music and say rap. These elements added to the sound and identity of the genre, so much so it stood out from the rest of the alternative genre, which grunge was a subgenre of, during that era. Below I have chosen 4 elements I feel distinguished the grunge genre of from that which was popular during the 1990’s and created the special sound to the music that allowed the artists to express their emotions. <br><br> <br />
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==Musical Elements ==<br />
===Harmony === <br />
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Harmony is very important to the creation of music, due to the fact it the way notes are played in relation to each other. This is a very technical and complex element of music that can be fairly hard to understand, so it is important to start at the beginning. There are seven notes in all of the music, not including all of the flats and sharps, A, B, C, D, E, F, G and these are the building blocks on which songs can then be built. The full list of notes which contain all the flats (b) and sharps (#) starting at A is'''A''', A#/Bb, '''B''', C, '''C#/Db''', '''D''', D#/Eb, '''E''', F, '''F#/Gb''', G, '''G#/Ab''', '''A''' and follows a pattern of 2212221, which gives a scale of A major. The pattern is followed by the bolded letters produces A, B, C#, D, E, F#, G#, A as the A Major Scale. From the scale, one can then produce all of the chords that can be made from that key. A chord is several notes played together to that are separated by thirds, which produce notes that compliment each other very well. The chords for an A major key would contain AC#E I (major), BDF# ii (minor), C#EG# iii (minor), DF#A IV (major), EG#B V (major), F#AC# vi (minor), G#BD vii0 (diminished). To form these 3 note chords, one takes the scale and starts at the first note in the scale, which in our case is A. Then, skip the next note, B, and chose C# to do this again for the third and last note of the chord. Your final chord will be AC#E, which is a major chord and they you do it for B, C#, etc. for the rest of the chords until you come back to your original note A. The chords are in a pattern of major, minor, minor, major, major, minor, and diminished, which are shown by the capitalized Roman numerals rather than the lower case ones and the 0 at the end means diminished. Another name this goes by is diatonic harmony and all this is the way notes relate with each other in a certain key. All of this can be replicated for all of the other keys in music to get chords. These chords then can be played in succession after one another and produce a chord progression. Some commonly used chord progressions in the key of A are ADE (I – IV- V) and BEA (ii-V-I). These chords and chord progression are what creates the harmony in the song and they are often used in term of how harsh they sound. The harshness of chords is quantified into dissonance and consonance. Dissonance is a very harsh sounding harmony and its chords known for creating tension in a piece. Consonance is a smooth sounding harmony that creates consonant chords, which resolves tension created by the dissonant chords. Chords are very important to music because it truly creates the mood of the music. More dissonant sounding music sounds almost unstable, eerie and sad. A really good example is Mozart’s Quartetto K. 465 "delle dissonanze" <htmltag tagname="iframe" id= width="200" height="150" src="https://www.youtube.com/embed/08uY0-ehL-w" frameborder="0" allowfullscreen</htmltag><br />
One can hear the very dissonant beginning and then throughout the rest of the piece, one can hear how dissonance is resolved by consonance. <br />
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=== Rhythm ===<br />
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In music, the rhythm of a song is the time in which a song is played. This can be seen when a person is tapping one’s foot to the beat. The rhythm of the song is very important in creating the emotions of the song due to the fact that it determines how fast the piece is going to be. Encompassed in rhythm are sub-topics of duration, tempo, and meter, which helps the listener and musician to follow the structure of the piece. Rhythm tends to be more the technical part of the song but it carries much importance because without it the song would be a mess of lyrics and instruments without direction. So the duration is the length of time between each note and silence. It is used to bring attention to a certain section of the song because a very long note or silence is jarring to the listener. A silence can bring emphasis to the next note and add a complexity to the tempo of the song. The meter of the song is the repetition of accents and stresses that are arranged into the recognizable beat of the song. In a song, the accented notes tend to be the first note of the measure, however, to create more drama many artists utilize syncopation or the putting of accents on off-beats. The meter is emphasized by the song’s tempo or speed at which the beat is played. It is often known as beats per minute (bpm). The tempo of the song determines the level of excitement and mood of the song. It has been said by Gow that “the time-pattern upon his attention must be the excuse for the common conception of rhythm as the emotional element in music” (Gow, 1915, p. 637) or in layman terms. The pattern of sound, silence, and speed adds significantly to the emotions and feeling drawn from the piece so it is imperative that the artist uses the correct rhythm and tempo for the desired effect. An example of this would be how slow blues music tends to be around the 60 bpm and rock and roll music tends to be about 175 bpm. (Gow, 1915, p. 637- 642)<ref> Gow, G. (1915). Rhythm: The Life of Music. The Musical Quarterly, 1(4), 637-652. Retrieved from http://www.jstor.org/stable/738071 </ref> <br />
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Grunge music is all about the aesthetic of the music and many times it is difficult to derive the meaning of the lyrics due to the vocal quality or symbolic meaning of the lyrics. So it’s imperative to set the right tone via the rhythm because without that the song could be changed from a very dark and emotional piece to one that sounds happy and light. Therefore, the duration of the notes and silences have to create drama and angst. The meter must accentuate the right beat and word of the lyrics to make them pop. One consistency round most grunge music is its timed meter, which was 4/4 time or four beats per measure. The emphasis on notes tended to be inconsistent though because it was really dependent on the lyrics. Some songs did use accents of off-beats to draw more attention to one part or another. Meter also creates the structure to the song. Without that the song has very similar and boring notes with no structure. The tempo has to give the song the right attitude. So in grunge music artists wanted a tempo to reflect sadness and depression that they often felt, but they but they wanted to be interesting and attention grabbing. So many artist chooses tempos from around 90-120 (bpm) there was no exact range to the tempos. It was really up to the musician’s ear. However, one can tell that the artist chose the right tempo, if the emotions were portrayed foremost in the music. A good example would be to speed up or slow down a grunge song.<br />
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When that is done, ignoring the higher pitch of Cobain's voice, it is obvious that one will not get the same emphasis on themes of the music leaving the song useless to the artist. The grunge artist needed the aesthetic of angst and pain to drip from the lyrics to get his point across. <br />
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=== Dynamics ===<br />
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The dynamics of a song is the loudness and or softness at which the song is played at. A song can be played very loudly, fortissimo, or very softly, pianissimo, and it would create a different interpretation of the song. Some genres of music tend to produce quieter music while others like to blast their audience with their music. An artist can also have a range of volumes with many choosing sections of their song to be quieter to emphasize the words or the music’s complexity and others sections being softer to portray emotions. Sometimes the artist wants to create a buildup of tension in the song so he or she will use a crescendo, getting louder, or a decrescendo, getting softer to achieve it. Another part of dynamics, which was touched on in rhythm, is accenting a note or “leaning into a note” <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017. </ref> and it creates a unique sound. It is important to use dynamics because it keeps the music interesting . A lovely example that many people have probably heard before would be in Richard Strauss's Also sprach Zarathustra, Op. 30. <br><br />
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It starts our pianissimo and then crescendos to fortissimo until it is absolutely blaring. These dynamics are meant to grab the attention of the audience and awaken anyone who has fallen asleep during the very quiet part. Dynamics are an important part of the music creation process due to the fact that a combination of these dynamics creates the genre's signature style. Hardcore rock is known to bombard their audience with sound while other genres such as country tend to have a moderate volume. <br />
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Dynamics is another really important element in grunge music because it can be used as an emphasis on particular parts of the song. The song could go from a verse of quiet reflection to a chorus of raging anger. This element is interlinked with all of the other elements to create the song the way that artist meant to portray it. Many of the grunge artists use dynamics to emphasize the themes of the song. So while many songs of the grunge genre do tend to vacillate between very loud and quiet, not every song does. It all depends on the themes and emotions of the songs. An example of the differences would be comparing the dynamics of Black Hole Sun by Soundgarden and Glycerine by Bush. They are both classified under the genre of grunge music, but they have totally different dynamics. In Black Hole Sun, the first verse starts out pretty quiet to emphasize the almost euphoric nature of words and the invisibility the singer feels. Then in the chorus, there is a large increase in volume which tries to capture the anger and pain of his invisibility. However, in Glycerine , the verse starts out pretty quiet and has a mournful tone and it crescendos ever so slightly into the chorus which is still mournful plus a bit remorseful also. The dynamics are used in grunge as an emphasis on certain feelings and emotions and though some do have a pattern of a quite verse and loud chorus some use other dynamics to get their point across. <br />
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=== Form ===<br />
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In music, the element of form is a combination of the repetition, contrast, and continuity that creates a song’s uniqueness. The form is very dependent on the other elements of music because it is the way the music is arranged. There is a mixture of musical ideas that are carefully arranged to create the meaning behind the music, which is illustrated when the chorus, speaking both lyrically and instrumentally, is repeated. To differentiate the diversions in music, letters such as A, B, C, are used. This is used determine the slight variation in musical patterns. Repetition is often utilized in form to set the theme of the song. This is seen when the chorus is repeated or the verse lyrics change and music stays the same. Repetition in music is known to create continuity and is usually done with a catchy chorus. Contrarily when there is a change or contrast in music, it is often used to note a shift in mood. The form includes a myriad of types including strophic, binary, verse/chorus song, and ternary forms. These types of forms are derived from the repetition, contrast, and continuity referred to previously. The strophic form is when the same music is repeated over and over for several verses of music. This is the most basic form, which lacks contrast and is all repetition. The message the song is trying to portray is usually very elementary. In the binary form, there are two parts. It uses contrast to highlight the question answer music phrasing between the similar phrasing contrasting section. A combination between the binary and strophic forms is the Verse/ Chorus Song form. It alternates between the storytelling verses, which contain different lyrics each verse, and the recurring chorus. <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017</ref>. It creates the feeling of familiarity and allows for many ideas and feelings to be told and then reiterated in the chorus, which is very important in grunge music. The last form being covered is the ternary from. It is a three-part form that has a repletion of the first verse, with different lyrics, which then processes to the chorus and returns back to the theme of the first verse. The form is very diverse in music and can evoke different emotions. So one can see how important it is to grunge music because of its ability to highlight the different parts of the song through repetition, contrast, and continuity. <br />
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Grunge music is primarily about emotions and social issues that plagued many of the youth during that time, so it is very important to have the music bring attention to these issues through the phrasing of the chorus and verses. Songs In the 1990’s many rock songs followed a verse-chorus form, which Brad Osborn likes to call the “verse-chorus paradigm” (Osborn, 2013, p. 23). <ref> Osborn, B. (2013). Subverting the Verse–Chorus Paradigm: Terminally Climactic Forms in Recent Rock Music. Music Theory Spectrum, 35(1), 23-47. doi:10.1525/mts.2013.35.1.23 </ref> or in less layman terms a verse-chorus pattern. Osborn then quotes John Covach who says “In a verse-chorus [form]...the focus of the song is squarely on the chorus...[T]he verses serve primarily to prepare the return of the chorus’’ (Osborn, 2013, p. 23) and this makes the song sound like it’s using the chorus as the main bringer of emotion to the song. Many grunge songs, due to the fact that they are part of the rock genre, did use this form. It allowed many of the emotions of the first verse to be realized and then an overall feeling of dissatisfaction to be released about these feelings. This can especially be seen in “Heart-Shaped Box” by Nirvana, which starts with verse 1 <div style="text-align: center;"> She eyes me like a Pisces when I am weak <br><br />
I've been locked inside your heart-shaped box for weeks <br><br />
I've been drawn into your magnetar pit trap trap <br><br />
I wish I could eat your cancer when you turn black<ref> https://play.google.com/music/preview/Ttdyvwmcelupwuxwf6fsabw2qwq?lyrics=1&utm_source=google&utm_medium=search&utm_campaign=lyrics&pcampaignid=kp-lyrics </ref> </div><br>. The music plays on the use of the verse-chorus from to highlight the emotions of feeling trapped and helpless, which are then built on during the chorus <div style="text-align: center;"> Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice <br><br />
Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice<br><br />
Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice, your advice<ref> https://play.google.com/music/preview/Ttdyvwmcelupwuxwf6fsabw2qwq?lyrics=1&utm_source=google&utm_medium=search&utm_campaign=lyrics&pcampaignid=kp-lyrics </ref> </div><br>. The chorus is emphasizing the trapped feeling the singer is feeling, which he compares to debt. He feels that he is ever in debt and trapped. The next verse, which is musically a mirror of the first verse, but the lyrics speak of the great helpless he feels. This form allows great emphasis on the chorus and it also climaxes at the end when the last chorus is repeated. However, not every grunge song contained this form. In Glycerine by Bush, the song has a much different form, but still allows the emotions of sorrow and regret be portrayed to the audience. <br />
It’s all about the emotions being reached. They did not need to use this form to release and tell all of the audience their problems. It can be reached just as well with other songs <br />
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== Musical analysis of songs ==<br />
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Taking what has been learned about harmony, rhythm, dynamics, and form and its importance to grunge music now lets look at some songs created in the "grunge" music style. Find out more about grunge music and its history [[Grunge in London|here]]. <br />
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{| class="wikitable" width="80%"<br />
|-<br />
! scope="row"| Grunge Music of the Late 1980's - Mid 1990's<br />
|-<br />
! Musical Elements <br />
! Heart Shaped Box <br />
! Black Hole Sun <br />
! Creep<br />
! Glycerine <br />
! Man in the Box<br />
|-<br />
! scope="row"| Artist <br />
| align="center"| Nirvana <br />
| align="center"| Soundgarden <br />
| align="center"| Radiohead<br />
| align="center"| Bush <br />
| align="center"| Alice in Chains <br />
|-<br />
! scope="row"| Rhythm<br />
| align="center"| <br />
* Time Signature: 4/4<br />
*Tempo: Moderately (108 - 120 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: 120 bpm<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: (90-93 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: Moderately (112-116 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: Moderately (107-109 bpm)<br />
|-<br />
! scope="row"| Harmony<br />
| align="center"| <br />
* Key: A minor<br />
*Major Chords: A5, F5, D5/ A, F5, D7<br />
*Chord Progressions: A5, F5, D5, A, D7<br />
| align="center"|<br />
* Key: F major<br />
*Major Chords: Gsus, G6, Bb6, F5, Em<br />
| align="center"|<br />
* Key: G major<br />
*Major Chords: G, B, C, Cm<br />
*Chord Progressions: G, B, C, Cm<br />
| align="center"|<br />
* Key: F major<br />
*Major Chords: F, C5, D5, Bb5<br />
*Chord Progressions: F, C5, D5, Bb5<br />
| align="center"|<br />
* Key: E minor <br />
* Major Chords: Em, E5, G, D, A<br />
*Chord Progressions: G5 G6 G5 G6 C E5<br />
|-<br />
! scope="row"| Dynamics <br />
| align="center"| <br />
*quite verse and roaring chorus <br />
| align="center"|<br />
*quite verse and roaring chorus <br />
| align="center"|<br />
*quite verse and roaring chorus <br />
*crescendo to chorus <br />
*decrescendo to verse <br />
| align="center"|<br />
*quite crescendo loud moderate level<br />
| align="center"|<br />
*moderate <br />
|-<br />
! scope="row"| Form <br />
| align="center"| <br />
*verse/chorus song form <br />
| align="center"|<br />
*verse/chorus song form <br />
| align="center"|<br />
*verse/chorus song form<br />
| align="center"|<br />
* verse/chorus/ bridge form <br />
| align="center"|<br />
*Working on it <br />
|- ABABB Form <br />
|}<br />
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=Section 2: Elements to writing a grunge song=<br />
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[[File: ProjectPicture.jpg|x320px|right|thumb| Additional Image]]<br><br />
In this section, provide your contribution, creative element, assessment, or observation with regard to your background research. This could be a new derivative work based on previous research, or some parallel to other events. In this section, describe the relationship between your background review and your deliverable; make the connection between the two clear. <br />
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=== Rhythm ===<br />
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...use as many subsections or main sections as you need to support the claims for why what you did related to your ''Background'' section...<br />
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=== Harmony ===<br />
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...use as many subsections or main sections as you need to support the claims for why what you did related to your ''Background'' section...<br />
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=== Dynamics ===<br />
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...and so on and so forth...<br />
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=== Form ===<br />
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...and so on and so forth...<br />
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===Gallery===<br />
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=Conclusion=<br />
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In this section, provide a summary or recap of your work, as well as potential areas of further inquiry (for yourself, future students, or other researchers). <br />
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=External Links=<br />
If appropriate, add an external links section<br />
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=Image Gallery=<br />
If appropriate, add an image gallery<br />
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=References=<br />
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[[Category:Music Projects]]<br />
[[Category:2017]]<br />
<br><br></div>Kfconroyhttps://londonhuawiki.wpi.edu/index.php?title=Music_Theory_behind_Grunge_Music&diff=17909Music Theory behind Grunge Music2017-06-21T09:46:46Z<p>Kfconroy: </p>
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by [[User:Kfconroy|Katharine Conory]]<br><br />
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=Abstract=<br />
The objective of this milestone is to take all that I have learned from my Grunge in London Capstone to analysis the music under the lens of music theory. I hope to be able to see what grunge music has to offer by way of harmony, rhythm, dynamics, and form, which are some of the elements of all music. Grunge music was a very special genre in which had a pretty distinct sound and attitude, but no real form to it. So in order to determine if there is a real “formula” to grunge music, a genre of rock, I am distinguishing from the alternative music of that time that did not count under the umbrella of grunge. For my deliverable, I am taking all that I learned from this analysis of grunge music from a music theory background to create my own guide to what a grunge song would contain in the way of harmony, rhythm, dynamics and form with examples of what I would do. <br> <br><br />
For this project, I am drawing back on my past experience with music theory and my violin background. This is slightly challenging due to the fact that harmony for a violin is much simpler for a violin than a guitar. In high school, I took several music classes and was in both chorus and band. I hope to gain more knowledge about music theory and help others understand music as well. <br />
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=Introduction=<br />
This project is meant to introduce those who enjoy music to the music theory or backbone of music that makes it sounds a certain way or gives it a certain emotion. Music is defined by its elements, which allows a certain genre of music sounds different than another. So, I distinguished four important elements of music and did an in-depth analysis of each with a comparison of grunge to popular rock music of that time. From that analysis, I then produced a guide to producing my own gunge song with examples of what I would do. <br> <br><br />
In my research, I found that grunge was more covered as a social and ethical topic with little being covered about the music itself. It was difficult to find much on the elements of music in respect to the grunge genre itself, but I did find some info on it under the umbrella of alternative. I discovered that its sound and style was primarily based off of the music’s harmony with the rhythm, form, and dynamics still very important to its overall sound. But, there was no real pattern to the music. Together in had a unique sound due to the harmonic practices, but what really kept the genre a genre was the music’s attitude and the taboo topics it tried to address. Each artist has its own unique style and sound but they all fell into the same genre. This project needs more research to fully grasp the musical differences between grunge music and the popular rock of the time. <br />
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=Section 1: Background=<br />
Grunge was a style choice, a cultural movement and most importantly a music style that appeared in the late 1980’s to the early 1990’s, which songs had focused on topics of a taboo nature such as alienation, depression, and suicide. The movement focused on using their music to enlighten those around them about the problems that they were suffering from, which resonated very well with the youth who were also facing many of those issues. It was very popular and topped many of the more well-known artists. It had a new an appealing sound that differed from the rock and pop music of day. Grunge music is considered to be a sub-genre of rock with heavy overlap with other rock subgenres such as alternative, metal, and punk <ref> STRONG, C. (2016). GRUNGE: music and memory. S.l.: ROUTLEDGE. </ref>.The music contained a dirty and raw sound guitar sound, which gave the genre its name. This music has a significant effect on the culture of the Seattle area where is was started, which is no surprise due to the fact that music has always been a major component of cultural changes in society. There have been many scholarly articles citing its importance and during this time there was a major shift in attitudes towards the world and the people who lived in it, which emphasized the feelings correlated to alienation, depression, and suicide. However one may ask how music, subtracting the lyrics, could evoke such feelings, which in fact brings me to the focus of this capstone; the music theory behind grunge music that gave it its unique sound. <br><br> <br />
The music theory behind grunge music will explain how this music became so unique, but this calls into question of the definition music. In the most literal idea, one can see music as “vibrations in the air that are observed by us and then interpreted as sounds. These sounds play out over time, meaning that music is, therefore, sound over time” <ref> Samama, L., & Clements, D. (2016). What is music? In The Meaning of Music (pp. 27-31). Amsterdam University Press. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/j.ctt1b9x1ts.5</ref>. However, that is way too literal and would infer that all sounds are music like all paintings are works of art. Music is way more sophisticated and can be seen as “multi-dimensional (and a) multimedia phenomenon’’ <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017.</ref>. Therefore music is grouped into seven different elements, which are rhythm, dynamics, melody, harmony, tone color, texture, and form to help identify the key differences between grunge music and say rap. These elements added to the sound and identity of the genre, so much so it stood out from the rest of the alternative genre, which grunge was a subgenre of, during that era. Below I have chosen 4 elements I feel distinguished the grunge genre of from that which was popular during the 1990’s and created the special sound to the music that allowed the artists to express their emotions. <br><br> <br />
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==Musical Elements ==<br />
===Harmony === <br />
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Harmony is very important to the creation of music, due to the fact it the way notes are played in relation to each other. This is a very technical and complex element of music that can be fairly hard to understand, so it is important to start at the beginning. There are seven notes in all of the music, not including all of the flats and sharps, A, B, C, D, E, F, G and these are the building blocks on which songs can then be built. The full list of notes which contain all the flats (b) and sharps (#) starting at A is'''A''', A#/Bb, '''B''', C, '''C#/Db''', '''D''', D#/Eb, '''E''', F, '''F#/Gb''', G, '''G#/Ab''', '''A''' and follows a pattern of 2212221, which gives a scale of A major. The pattern is followed by the bolded letters produces A, B, C#, D, E, F#, G#, A as the A Major Scale. From the scale, one can then produce all of the chords that can be made from that key. A chord is several notes played together to that are separated by thirds, which produce notes that compliment each other very well. The chords for an A major key would contain AC#E I (major), BDF# ii (minor), C#EG# iii (minor), DF#A IV (major), EG#B V (major), F#AC# vi (minor), G#BD vii0 (diminished). To form these 3 note chords, one takes the scale and starts at the first note in the scale, which in our case is A. Then, skip the next note, B, and chose C# to do this again for the third and last note of the chord. Your final chord will be AC#E, which is a major chord and they you do it for B, C#, etc. for the rest of the chords until you come back to your original note A. The chords are in a pattern of major, minor, minor, major, major, minor, and diminished, which are shown by the capitalized Roman numerals rather than the lower case ones and the 0 at the end means diminished. Another name this goes by is diatonic harmony and all this is the way notes relate with each other in a certain key. All of this can be replicated for all of the other keys in music to get chords. These chords then can be played in succession after one another and produce a chord progression. Some commonly used chord progressions in the key of A are ADE (I – IV- V) and BEA (ii-V-I). These chords and chord progression are what creates the harmony in the song and they are often used in term of how harsh they sound. The harshness of chords is quantified into dissonance and consonance. Dissonance is a very harsh sounding harmony and its chords known for creating tension in a piece. Consonance is a smooth sounding harmony that creates consonant chords, which resolves tension created by the dissonant chords. Chords are very important to music because it truly creates the mood of the music. More dissonant sounding music sounds almost unstable, eerie and sad. A really good example is Mozart’s Quartetto K. 465 "delle dissonanze" <iframe width="200" height="150" src="https://www.youtube.com/embed/08uY0-ehL-w" frameborder="0" allowfullscreen></iframe>. One can hear the very dissonant beginning and then throughout the rest of the piece, one can hear how dissonance is resolved by consonance. <br />
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=== Rhythm ===<br />
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In music, the rhythm of a song is the time in which a song is played. This can be seen when a person is tapping one’s foot to the beat. The rhythm of the song is very important in creating the emotions of the song due to the fact that it determines how fast the piece is going to be. Encompassed in rhythm are sub-topics of duration, tempo, and meter, which helps the listener and musician to follow the structure of the piece. Rhythm tends to be more the technical part of the song but it carries much importance because without it the song would be a mess of lyrics and instruments without direction. So the duration is the length of time between each note and silence. It is used to bring attention to a certain section of the song because a very long note or silence is jarring to the listener. A silence can bring emphasis to the next note and add a complexity to the tempo of the song. The meter of the song is the repetition of accents and stresses that are arranged into the recognizable beat of the song. In a song, the accented notes tend to be the first note of the measure, however, to create more drama many artists utilize syncopation or the putting of accents on off-beats. The meter is emphasized by the song’s tempo or speed at which the beat is played. It is often known as beats per minute (bpm). The tempo of the song determines the level of excitement and mood of the song. It has been said by Gow that “the time-pattern upon his attention must be the excuse for the common conception of rhythm as the emotional element in music” (Gow, 1915, p. 637) or in layman terms. The pattern of sound, silence, and speed adds significantly to the emotions and feeling drawn from the piece so it is imperative that the artist uses the correct rhythm and tempo for the desired effect. An example of this would be how slow blues music tends to be around the 60 bpm and rock and roll music tends to be about 175 bpm. (Gow, 1915, p. 637- 642)<ref> Gow, G. (1915). Rhythm: The Life of Music. The Musical Quarterly, 1(4), 637-652. Retrieved from http://www.jstor.org/stable/738071 </ref> <br />
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Grunge music is all about the aesthetic of the music and many times it is difficult to derive the meaning of the lyrics due to the vocal quality or symbolic meaning of the lyrics. So it’s imperative to set the right tone via the rhythm because without that the song could be changed from a very dark and emotional piece to one that sounds happy and light. Therefore, the duration of the notes and silences have to create drama and angst. The meter must accentuate the right beat and word of the lyrics to make them pop. One consistency round most grunge music is its timed meter, which was 4/4 time or four beats per measure. The emphasis on notes tended to be inconsistent though because it was really dependent on the lyrics. Some songs did use accents of off-beats to draw more attention to one part or another. Meter also creates the structure to the song. Without that the song has very similar and boring notes with no structure. The tempo has to give the song the right attitude. So in grunge music artists wanted a tempo to reflect sadness and depression that they often felt, but they but they wanted to be interesting and attention grabbing. So many artist chooses tempos from around 90-120 (bpm) there was no exact range to the tempos. It was really up to the musician’s ear. However, one can tell that the artist chose the right tempo, if the emotions were portrayed foremost in the music. A good example would be to speed up or slow down a grunge song.<br />
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When that is done, ignoring the higher pitch of Cobain's voice, it is obvious that one will not get the same emphasis on themes of the music leaving the song useless to the artist. The grunge artist needed the aesthetic of angst and pain to drip from the lyrics to get his point across. <br />
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=== Dynamics ===<br />
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The dynamics of a song is the loudness and or softness at which the song is played at. A song can be played very loudly, fortissimo, or very softly, pianissimo, and it would create a different interpretation of the song. Some genres of music tend to produce quieter music while others like to blast their audience with their music. An artist can also have a range of volumes with many choosing sections of their song to be quieter to emphasize the words or the music’s complexity and others sections being softer to portray emotions. Sometimes the artist wants to create a buildup of tension in the song so he or she will use a crescendo, getting louder, or a decrescendo, getting softer to achieve it. Another part of dynamics, which was touched on in rhythm, is accenting a note or “leaning into a note” <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017. </ref> and it creates a unique sound. It is important to use dynamics because it keeps the music interesting . A lovely example that many people have probably heard before would be in Richard Strauss's Also sprach Zarathustra, Op. 30. <br><br />
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It starts our pianissimo and then crescendos to fortissimo until it is absolutely blaring. These dynamics are meant to grab the attention of the audience and awaken anyone who has fallen asleep during the very quiet part. Dynamics are an important part of the music creation process due to the fact that a combination of these dynamics creates the genre's signature style. Hardcore rock is known to bombard their audience with sound while other genres such as country tend to have a moderate volume. <br />
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Dynamics is another really important element in grunge music because it can be used as an emphasis on particular parts of the song. The song could go from a verse of quiet reflection to a chorus of raging anger. This element is interlinked with all of the other elements to create the song the way that artist meant to portray it. Many of the grunge artists use dynamics to emphasize the themes of the song. So while many songs of the grunge genre do tend to vacillate between very loud and quiet, not every song does. It all depends on the themes and emotions of the songs. An example of the differences would be comparing the dynamics of Black Hole Sun by Soundgarden and Glycerine by Bush. They are both classified under the genre of grunge music, but they have totally different dynamics. In Black Hole Sun, the first verse starts out pretty quiet to emphasize the almost euphoric nature of words and the invisibility the singer feels. Then in the chorus, there is a large increase in volume which tries to capture the anger and pain of his invisibility. However, in Glycerine , the verse starts out pretty quiet and has a mournful tone and it crescendos ever so slightly into the chorus which is still mournful plus a bit remorseful also. The dynamics are used in grunge as an emphasis on certain feelings and emotions and though some do have a pattern of a quite verse and loud chorus some use other dynamics to get their point across. <br />
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=== Form ===<br />
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In music, the element of form is a combination of the repetition, contrast, and continuity that creates a song’s uniqueness. The form is very dependent on the other elements of music because it is the way the music is arranged. There is a mixture of musical ideas that are carefully arranged to create the meaning behind the music, which is illustrated when the chorus, speaking both lyrically and instrumentally, is repeated. To differentiate the diversions in music, letters such as A, B, C, are used. This is used determine the slight variation in musical patterns. Repetition is often utilized in form to set the theme of the song. This is seen when the chorus is repeated or the verse lyrics change and music stays the same. Repetition in music is known to create continuity and is usually done with a catchy chorus. Contrarily when there is a change or contrast in music, it is often used to note a shift in mood. The form includes a myriad of types including strophic, binary, verse/chorus song, and ternary forms. These types of forms are derived from the repetition, contrast, and continuity referred to previously. The strophic form is when the same music is repeated over and over for several verses of music. This is the most basic form, which lacks contrast and is all repetition. The message the song is trying to portray is usually very elementary. In the binary form, there are two parts. It uses contrast to highlight the question answer music phrasing between the similar phrasing contrasting section. A combination between the binary and strophic forms is the Verse/ Chorus Song form. It alternates between the storytelling verses, which contain different lyrics each verse, and the recurring chorus. <ref> The Elements Of Music. 1st ed. West Michigan University. Web. 30 May 2017</ref>. It creates the feeling of familiarity and allows for many ideas and feelings to be told and then reiterated in the chorus, which is very important in grunge music. The last form being covered is the ternary from. It is a three-part form that has a repletion of the first verse, with different lyrics, which then processes to the chorus and returns back to the theme of the first verse. The form is very diverse in music and can evoke different emotions. So one can see how important it is to grunge music because of its ability to highlight the different parts of the song through repetition, contrast, and continuity. <br />
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Grunge music is primarily about emotions and social issues that plagued many of the youth during that time, so it is very important to have the music bring attention to these issues through the phrasing of the chorus and verses. Songs In the 1990’s many rock songs followed a verse-chorus form, which Brad Osborn likes to call the “verse-chorus paradigm” (Osborn, 2013, p. 23). <ref> Osborn, B. (2013). Subverting the Verse–Chorus Paradigm: Terminally Climactic Forms in Recent Rock Music. Music Theory Spectrum, 35(1), 23-47. doi:10.1525/mts.2013.35.1.23 </ref> or in less layman terms a verse-chorus pattern. Osborn then quotes John Covach who says “In a verse-chorus [form]...the focus of the song is squarely on the chorus...[T]he verses serve primarily to prepare the return of the chorus’’ (Osborn, 2013, p. 23) and this makes the song sound like it’s using the chorus as the main bringer of emotion to the song. Many grunge songs, due to the fact that they are part of the rock genre, did use this form. It allowed many of the emotions of the first verse to be realized and then an overall feeling of dissatisfaction to be released about these feelings. This can especially be seen in “Heart-Shaped Box” by Nirvana, which starts with verse 1 <div style="text-align: center;"> She eyes me like a Pisces when I am weak <br><br />
I've been locked inside your heart-shaped box for weeks <br><br />
I've been drawn into your magnetar pit trap trap <br><br />
I wish I could eat your cancer when you turn black<ref> https://play.google.com/music/preview/Ttdyvwmcelupwuxwf6fsabw2qwq?lyrics=1&utm_source=google&utm_medium=search&utm_campaign=lyrics&pcampaignid=kp-lyrics </ref> </div><br>. The music plays on the use of the verse-chorus from to highlight the emotions of feeling trapped and helpless, which are then built on during the chorus <div style="text-align: center;"> Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice <br><br />
Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice<br><br />
Hey! <br><br />
Wait! <br><br />
I've got a new complaint <br><br />
Forever in debt to your priceless advice, your advice<ref> https://play.google.com/music/preview/Ttdyvwmcelupwuxwf6fsabw2qwq?lyrics=1&utm_source=google&utm_medium=search&utm_campaign=lyrics&pcampaignid=kp-lyrics </ref> </div><br>. The chorus is emphasizing the trapped feeling the singer is feeling, which he compares to debt. He feels that he is ever in debt and trapped. The next verse, which is musically a mirror of the first verse, but the lyrics speak of the great helpless he feels. This form allows great emphasis on the chorus and it also climaxes at the end when the last chorus is repeated. However, not every grunge song contained this form. In Glycerine by Bush, the song has a much different form, but still allows the emotions of sorrow and regret be portrayed to the audience. <br />
It’s all about the emotions being reached. They did not need to use this form to release and tell all of the audience their problems. It can be reached just as well with other songs <br />
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== Musical analysis of songs ==<br />
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Taking what has been learned about harmony, rhythm, dynamics, and form and its importance to grunge music now lets look at some songs created in the "grunge" music style. Find out more about grunge music and its history [[Grunge in London|here]]. <br />
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{| class="wikitable" width="80%"<br />
|-<br />
! scope="row"| Grunge Music of the Late 1980's - Mid 1990's<br />
|-<br />
! Musical Elements <br />
! Heart Shaped Box <br />
! Black Hole Sun <br />
! Creep<br />
! Glycerine <br />
! Man in the Box<br />
|-<br />
! scope="row"| Artist <br />
| align="center"| Nirvana <br />
| align="center"| Soundgarden <br />
| align="center"| Radiohead<br />
| align="center"| Bush <br />
| align="center"| Alice in Chains <br />
|-<br />
! scope="row"| Rhythm<br />
| align="center"| <br />
* Time Signature: 4/4<br />
*Tempo: Moderately (108 - 120 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: 120 bpm<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: (90-93 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: Moderately (112-116 bpm)<br />
| align="center"|<br />
* Time Signature: 4/4<br />
*Tempo: Moderately (107-109 bpm)<br />
|-<br />
! scope="row"| Harmony<br />
| align="center"| <br />
* Key: A minor<br />
*Major Chords: A5, F5, D5/ A, F5, D7<br />
*Chord Progressions: A5, F5, D5, A, D7<br />
| align="center"|<br />
* Key: F major<br />
*Major Chords: Gsus, G6, Bb6, F5, Em<br />
| align="center"|<br />
* Key: G major<br />
*Major Chords: G, B, C, Cm<br />
*Chord Progressions: G, B, C, Cm<br />
| align="center"|<br />
* Key: F major<br />
*Major Chords: F, C5, D5, Bb5<br />
*Chord Progressions: F, C5, D5, Bb5<br />
| align="center"|<br />
* Key: E minor <br />
* Major Chords: Em, E5, G, D, A<br />
*Chord Progressions: G5 G6 G5 G6 C E5<br />
|-<br />
! scope="row"| Dynamics <br />
| align="center"| <br />
*quite verse and roaring chorus <br />
| align="center"|<br />
*quite verse and roaring chorus <br />
| align="center"|<br />
*quite verse and roaring chorus <br />
*crescendo to chorus <br />
*decrescendo to verse <br />
| align="center"|<br />
*quite crescendo loud moderate level<br />
| align="center"|<br />
*moderate <br />
|-<br />
! scope="row"| Form <br />
| align="center"| <br />
*verse/chorus song form <br />
| align="center"|<br />
*verse/chorus song form <br />
| align="center"|<br />
*verse/chorus song form<br />
| align="center"|<br />
* verse/chorus/ bridge form <br />
| align="center"|<br />
*Working on it <br />
|- ABABB Form <br />
|}<br />
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=Section 2: Elements to writing a grunge song=<br />
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In this section, provide your contribution, creative element, assessment, or observation with regard to your background research. This could be a new derivative work based on previous research, or some parallel to other events. In this section, describe the relationship between your background review and your deliverable; make the connection between the two clear. <br />
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=== Rhythm ===<br />
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...use as many subsections or main sections as you need to support the claims for why what you did related to your ''Background'' section...<br />
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=== Harmony ===<br />
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...use as many subsections or main sections as you need to support the claims for why what you did related to your ''Background'' section...<br />
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=== Dynamics ===<br />
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...and so on and so forth...<br />
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=== Form ===<br />
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...and so on and so forth...<br />
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===Gallery===<br />
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=Conclusion=<br />
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In this section, provide a summary or recap of your work, as well as potential areas of further inquiry (for yourself, future students, or other researchers). <br />
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=External Links=<br />
If appropriate, add an external links section<br />
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=Image Gallery=<br />
If appropriate, add an image gallery<br />
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=References=<br />
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[[Category:Music Projects]]<br />
[[Category:2017]]<br />
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