Oh, glad you asked. I'm still sorting it out. But it has to do with the obsessively tight patterns that you find in the play, including patterns made out of words, images, character obsessions, sounds, location, and the relationship between past and future.
And there is a feeling -- even when the world spins out of control towards the end of the play, that all of the shifts and changes were "contained" within a certain "key" which is established at the outset of the play. Blanche holds her whole history on her surface when she enters the play in scene one. Her outsider status, the description of her moving like a white moth, her disbelief that this could actually be where her sister lives are all clues to a past that, when revealed, seems SURPRISING yet PLAUSIBLE.
When her secrets are revealed, and seem consistent with the clues that have been given, we, as an audience, confirm our BELIEF in LINEAR TIME (Blanche's present self contains the clues and scars of her past) and we confirm that we can KNOW someone by deducing clues based on their appearance and behavior. There is a logic to it (and a morality too) and the way that the story plays out confirms that this logic does exist.
This seems parallel to the way that classical music establishes itself (usually) within a four measure, articulated phrase, and proceeds to vary itself within the basic rules of that phrase. It can sometimes move very far away from that initial articulated phrase, but somehow, we are always waiting for the security of a RETURN. And part of the pleasure is wondering HOW the composer is going to GET US BACK THERE.
Streetcar seems not only tonal but classical, because when the end of the play arrives, MUCH of the world has not changed. Stanley is still playing poker, Stella is still his wife, New Orleans is still New Orleans, Blanche is leaving (and when she is gone the status quo of the world will be reestablished). However there has been a serious modulation, perhaps a move to a new key, that shifts our relationship to the world of the play. It is the same and not at all the same. Our faith in the playwright has been confirmed - he can move us through linear time and confirm our belief in it - that as we move through it, things will be revealed, that we can learn, understand, see differently, become wiser....
Thoughts? Opinions?
Friday, February 27, 2009
Melody Assignment
by J Waechter
A Forest. A Flood.
Some questions.
A – Woman
B – Man
Chris – Their little girl
A
How old are you
B
What kind of question is that
A
That’s what I said
B
Did you punch him
A
I didn’t answer
B
Did you punch him
A
I asked him to leave
B
But did you
A
It’s not that insulting
Then he said what he was there for
B
Well
A
Well it’s not
I think you’re more upset than me
It could have been worse
B
Well
He should have said why first
A
Well
B
He should have been doing his job
He has a job to do
He should have been helping
A
He was helping
B
But he wasn’t doing his job
A
When Chris came out the front
B
Chris was there
A
She wasn’t and then she was
She was inside, but when he showed up with the news
B
That’s why you didn’t punch him
A
He was a rescue worker
He was doing his job
B
Well
A
What
B
We have different definitions of job
A
You could have come outside
You could have
You didn’t have to keep watching TV
You knew something was going on
B
Well
A
Well nothing
Pause.
A (cont.)
Remember when we moved here
Remember You got that new job
We put the kids in the car and
Moved
And remember how proud we were of the house
Remember when Chris got out of the car
Is this all ours
And you said yes
Really All of this
Yes
This too This yard and that door and the grass and the windows
Are these are our flowers Is this our mailbox Is that our garage
And she ran around touching everything
And then she slipped in dog shit
B
What made you think of that
A
Remember that
She just
Slipped
She started crying and I felt bad
I couldn’t stop laughing
You were laughing so hard you had to go stand on the other side of the car
Shit smeared all down her back
I’ll miss that house
B
It’s not gone yet
A
But it will
B
But it’s not
A
It will
Under water
He said it will
B
He shouldn’t have said that
He should’ve done his job
A
He was doing his job
B
He was trying to be a therapist
Or a friend
He was hitting on you
A
He wasn’t hitting on me
B
He should have just given us directions
A
He told us to come up here on this mountain
He gave us water
He said there’d be food and that someone would come get us
He led us to safety
He was doing his job
B
Where’s Chris
A
Don’t change the subject
B
Chris
Chris
A
She’s off playing somewhere
She’s fine
B
But where is she
A
She’s playing
B
But
A
She’s fine
Pause.
B
Do you think we’ll see it from here
A
What kind of question is that
B
The house
When the dam breaks
A
But what kind of question is that
B
I want to see it
A
Our house
B
Yes
A
Why
B
So it’s real
A
That’s sick
I don’t want to see it
B
Chris Chris Come over here
A
Why would you
B
I don’t know
Closure
I loved that house
It was a good
A
You didn’t love that house
B
I did It was our first home
I hate the neighborhood but
I love the house
I love our things
I loved coming home to all our things
I loved the way it smelled
The way the house smelled and the way our things in the house smelled
I’ll miss that
A
Well
B
Well
A
Those will be gone
…
I wish we’d had more time
You know
I wish he’d said get your things
Or at least get 3 things
If we could have gotten three things
B
My laptop
My father’s clock
My jacket
A
You thought about this
B
You
A
No
I mean I guess it’d be
My wallet
My
My um
Maybe a photo or something
B
You don’t know
A
I’d need to think
B
But what if you had no time
A
I’d grab whatever was closest
B
Which would be
A
Whats next to the door
B
And
A
An umbrella
My grass stained sneakers
The welcome mat
That’s great We’ll be in an emergency shelter
But at least I’ll have the welcome mat and sneakers to mow the lawn
B
That’s kind of
A
What
B
I don’t know
Prophetic
Don’t you think
Is that a word
A
We should get Chris
B
Chris
Chris
Chris
A
CHRIS
Chris enters.
B
Where have you been young lady
We’ve been yelling our heads off trying to find you
You know you can’t run off like that
Mommy and Daddy are in a lot of trouble right now
You heard the man The house is going to go and
A
Honey
B
You can’t run off like that
A
Honey she doesn’t understand
B
What
A
Let me
Honey remember on the TV
When the water came and all those people had to get out of the way
Remember that movie with that cute boy you like
CHRIS
Yes
A
Well we’re going to have to move like they did
CHRIS
Are we going to hide in a cave
A
No No caves
But it’s going to be okay and soon we’ll have a new house
And you can make new friends
CHRIS
I don’t want new friends
I like the old house
I want my crayons Can I have my crayons now
And my new pink shoes I want my pink shoes too with the bows
A
Well
B
Those things are gone.
CHRIS
I want my pink shoes
A
You can’t have your pink shoes
B
Wait
There it
A
Is that
B
It’s
A
Oh my god
They watch.
A Forest. A Flood.
Some questions.
A – Woman
B – Man
Chris – Their little girl
A
How old are you
B
What kind of question is that
A
That’s what I said
B
Did you punch him
A
I didn’t answer
B
Did you punch him
A
I asked him to leave
B
But did you
A
It’s not that insulting
Then he said what he was there for
B
Well
A
Well it’s not
I think you’re more upset than me
It could have been worse
B
Well
He should have said why first
A
Well
B
He should have been doing his job
He has a job to do
He should have been helping
A
He was helping
B
But he wasn’t doing his job
A
When Chris came out the front
B
Chris was there
A
She wasn’t and then she was
She was inside, but when he showed up with the news
B
That’s why you didn’t punch him
A
He was a rescue worker
He was doing his job
B
Well
A
What
B
We have different definitions of job
A
You could have come outside
You could have
You didn’t have to keep watching TV
You knew something was going on
B
Well
A
Well nothing
Pause.
A (cont.)
Remember when we moved here
Remember You got that new job
We put the kids in the car and
Moved
And remember how proud we were of the house
Remember when Chris got out of the car
Is this all ours
And you said yes
Really All of this
Yes
This too This yard and that door and the grass and the windows
Are these are our flowers Is this our mailbox Is that our garage
And she ran around touching everything
And then she slipped in dog shit
B
What made you think of that
A
Remember that
She just
Slipped
She started crying and I felt bad
I couldn’t stop laughing
You were laughing so hard you had to go stand on the other side of the car
Shit smeared all down her back
I’ll miss that house
B
It’s not gone yet
A
But it will
B
But it’s not
A
It will
Under water
He said it will
B
He shouldn’t have said that
He should’ve done his job
A
He was doing his job
B
He was trying to be a therapist
Or a friend
He was hitting on you
A
He wasn’t hitting on me
B
He should have just given us directions
A
He told us to come up here on this mountain
He gave us water
He said there’d be food and that someone would come get us
He led us to safety
He was doing his job
B
Where’s Chris
A
Don’t change the subject
B
Chris
Chris
A
She’s off playing somewhere
She’s fine
B
But where is she
A
She’s playing
B
But
A
She’s fine
Pause.
B
Do you think we’ll see it from here
A
What kind of question is that
B
The house
When the dam breaks
A
But what kind of question is that
B
I want to see it
A
Our house
B
Yes
A
Why
B
So it’s real
A
That’s sick
I don’t want to see it
B
Chris Chris Come over here
A
Why would you
B
I don’t know
Closure
I loved that house
It was a good
A
You didn’t love that house
B
I did It was our first home
I hate the neighborhood but
I love the house
I love our things
I loved coming home to all our things
I loved the way it smelled
The way the house smelled and the way our things in the house smelled
I’ll miss that
A
Well
B
Well
A
Those will be gone
…
I wish we’d had more time
You know
I wish he’d said get your things
Or at least get 3 things
If we could have gotten three things
B
My laptop
My father’s clock
My jacket
A
You thought about this
B
You
A
No
I mean I guess it’d be
My wallet
My
My um
Maybe a photo or something
B
You don’t know
A
I’d need to think
B
But what if you had no time
A
I’d grab whatever was closest
B
Which would be
A
Whats next to the door
B
And
A
An umbrella
My grass stained sneakers
The welcome mat
That’s great We’ll be in an emergency shelter
But at least I’ll have the welcome mat and sneakers to mow the lawn
B
That’s kind of
A
What
B
I don’t know
Prophetic
Don’t you think
Is that a word
A
We should get Chris
B
Chris
Chris
Chris
A
CHRIS
Chris enters.
B
Where have you been young lady
We’ve been yelling our heads off trying to find you
You know you can’t run off like that
Mommy and Daddy are in a lot of trouble right now
You heard the man The house is going to go and
A
Honey
B
You can’t run off like that
A
Honey she doesn’t understand
B
What
A
Let me
Honey remember on the TV
When the water came and all those people had to get out of the way
Remember that movie with that cute boy you like
CHRIS
Yes
A
Well we’re going to have to move like they did
CHRIS
Are we going to hide in a cave
A
No No caves
But it’s going to be okay and soon we’ll have a new house
And you can make new friends
CHRIS
I don’t want new friends
I like the old house
I want my crayons Can I have my crayons now
And my new pink shoes I want my pink shoes too with the bows
A
Well
B
Those things are gone.
CHRIS
I want my pink shoes
A
You can’t have your pink shoes
B
Wait
There it
A
Is that
B
It’s
A
Oh my god
They watch.
Lisa, why do you see STREETCAR as a tonal composition?
Oh, glad you asked. I'm still sorting it out. But it has to do with the obsessively tight patterns that you find in the play, including patterns made out of words, images, character obsessions, sounds, location, and the relationship between past and future.
And there is a feeling -- even when the world spins out of control towards the end of the play, that all of the shifts and changes were "contained" within a certain "key" which is established at the outset of the play. Blanche holds her whole history on her surface when she enters the play in scene one. Her outsider status, the description of her moving like a white moth, her disbelief that this could actually be where her sister lives are all clues to a past that, when revealed, seems SURPRISING yet PLAUSIBLE.
When her secrets are revealed, and seem consistent with the clues that have been given, we, as an audience, confirm our BELIEF in LINEAR TIME (Blanche's present self contains the clues and scars of her past) and we confirm that we can KNOW someone by deducing clues based on their appearance and behavior. There is a logic to it (and a morality too) and the way that the story plays out confirms that this logic does exist.
This seems parallel to the way that classical music establishes itself (usually) within a four measure, articulated phrase, and proceeds to vary itself within the basic rules of that phrase. It can sometimes move very far away from that initial articulated phrase, but somehow, we are always waiting for the security of a RETURN. And part of the pleasure is wondering HOW the composer is going to GET US BACK THERE.
Streetcar seems not only tonal but classical, because when the end of the play arrives, MUCH of the world has not changed. Stanley is still playing poker, Stella is still his wife, New Orleans is still New Orleans, Blanche is leaving (and when she is gone the status quo of the world will be reestablished). However there has been a serious modulation, perhaps a move to a new key, that shifts our relationship to the world of the play. It is the same and not at all the same. Our faith in the playwright has been confirmed - he can move us through linear time and confirm our belief in it - that as we move through it, things will be revealed, that we can learn, understand, see differently, become wiser....
Thoughts? Opinions?
And there is a feeling -- even when the world spins out of control towards the end of the play, that all of the shifts and changes were "contained" within a certain "key" which is established at the outset of the play. Blanche holds her whole history on her surface when she enters the play in scene one. Her outsider status, the description of her moving like a white moth, her disbelief that this could actually be where her sister lives are all clues to a past that, when revealed, seems SURPRISING yet PLAUSIBLE.
When her secrets are revealed, and seem consistent with the clues that have been given, we, as an audience, confirm our BELIEF in LINEAR TIME (Blanche's present self contains the clues and scars of her past) and we confirm that we can KNOW someone by deducing clues based on their appearance and behavior. There is a logic to it (and a morality too) and the way that the story plays out confirms that this logic does exist.
This seems parallel to the way that classical music establishes itself (usually) within a four measure, articulated phrase, and proceeds to vary itself within the basic rules of that phrase. It can sometimes move very far away from that initial articulated phrase, but somehow, we are always waiting for the security of a RETURN. And part of the pleasure is wondering HOW the composer is going to GET US BACK THERE.
Streetcar seems not only tonal but classical, because when the end of the play arrives, MUCH of the world has not changed. Stanley is still playing poker, Stella is still his wife, New Orleans is still New Orleans, Blanche is leaving (and when she is gone the status quo of the world will be reestablished). However there has been a serious modulation, perhaps a move to a new key, that shifts our relationship to the world of the play. It is the same and not at all the same. Our faith in the playwright has been confirmed - he can move us through linear time and confirm our belief in it - that as we move through it, things will be revealed, that we can learn, understand, see differently, become wiser....
Thoughts? Opinions?
Tuesday, February 24, 2009
Exercise 4: Melody (Sam Alper)
Australian for.
By Sam Alper
Music Assignment #3
Note: The melodic line is influenced by a pop sensibility. The emphasis is on simplicity, familiar chords (in this case, human interactions and current events), and repetition of a phrase that is looked forward to. The success is debatable, but these were the intentions.
[A bar in Australia. Two young Americans sitting at a booth, Alexis and John. Both very attractive, dressed well. Look like they’re sixteen or seventeen. The bartender comes over and sets down two Fosters.]
BARTENDER
Fosters, Australian for Beer.
[Alexis and John laugh.]
BARTENDER
How old are you two again?
JOHN
Twenty eight.
[Bartender laughs.]
BARTENDER
Together? Sorry, have a nice date kids.
[Bartender walks away.]
ALEXIS
Oh, this isn’t a date, right?
JOHN
Right. No way. We’re just chilling.
ALEXIS
Yeah, chillaxing.
JOHN
I need some time away from that tour group. I don’t think there’s one person here with us I like except you.
ALEXIS
Same. Rufus is such a creeper.
JOHN
Yeah.
ALEXIS
He tried to grab my boobs.
JOHN
What? How?
ALEXIS
He was leaning over me on the bus and he grabbed my boob and I was like “what the hell Rufus?” and he was like “I’m just getting my digital camera”.
JOHN
Nuts to that guy. Nuts all over that guy.
ALEXIS
I know. Where were you that day? I would have come and sat next to you.
JOHN
Oh, I got lost, actually, and missed the bus.
ALEXIS
Wow, was that scary?
JOHN
It was fine.
[Pause. They sip the beer.]
JOHN
“Fosters, Australian for beer.”
[They laugh.]
ALEXIS
Ok, I’ve got a question.
JOHN
What kind of question?
ALEXIS
A personal question. If that’s ok.
JOHN
That’s ok.
ALEXIS
Do you think I’m cute?
JOHN
I’m not going to answer that.
ALEXIS
Come on.
JOHN
Do you think I’m cute?
ALEXIS
Yes.
JOHN
Well, ok, I think you’re cute.
[Bartender comes over.]
BARTENDER
Excuse me you two, you know with the fires… We might be closing early today. I’ll tell you.
ALEXIS
Ok.
JOHN
What fires?
ALEXIS
Oh the fires you know, the huge wildfires. They’ve been all over the news.
JOHN
Oh, right, the fires. Those are awful.
ALEXIS
Supposedly all this amazing forest has been burned down. The plan was to go and visit it but the day before we were supposed to go the fires started. It’s really tragic.
JOHN
Yeah. Tragedy is… yeah.
[Pause. They drink.]
JOHN
“Fosters, Australian for beer.”
[They laugh.]
ALEXIS
So, ok, personal questions.
JOHN
Personal questions.
ALEXIS
How many girls have you made out with in your life?
JOHN
Seven.
ALEXIS
No counting. Wow.
JOHN
Yeah… ummm…I… Well actually I’ve never really made out with a girl.
ALEXIS
Really?
JOHN
Yeah, you know how people can be… ummm… kinky. I think I’m kinky.
ALEXIS
What do you mean?
JOHN
Well, like things that other people don’t think are sexy are sexy to me. Sorry, I know that seems weird.
ALEXIS
No, I think that’s kind of cool. You’re different.
JOHN
Yeah.
[Bartender gets a phone call. He answers it and starts talking really fast, loud, urgently. It’s clear that it’s a personal emergency.]
JOHN
How many boys have you made out with?
ALEXIS
Ummm…that depends.
JOHN
On what?
ALEXIS
On what happens today.
[Alexis takes Johns hand in hers. Bartender throws on a jacket and runs out the door.]
JOHN
Where’d he go?
ALEXIS
I don’t know, does it have something to do with the fires, do you think?
JOHN
I guess. He just left us alone in the bar?
ALEXIS
Yeah. We should probably go.
[They don’t get up.]
JOHN
We should watch the bar for him. That’s what we should do.
ALEXIS
Yeah. I hope his house and family are ok, he was nice, that Fosters joke…. It’s so sad. I heard somebody started the fires, like it was an arson.
JOHN
Really? I’m pretty sure they were an accident.
ALEXIS
How do you know?
JOHN
That’s just what I’ve heard.
ALEXIS
Well they’re saying now it looks like arson.
JOHN
Oh. That’s just not what I heard.
ALEXIS
Oh. Well, whatever.
JOHN
Yeah. I can’t believe he left us all alone in the bar.
[Pause. They sip the beer.]
JOHN
“Fosters, Australian for beer.”
[They laugh. Pause. Alexis leans in and kisses John.]
[John pulls away.]
ALEXIS
What’s wrong?
JOHN
Nothing. I had so much beer. Doesn’t it make your stomach feel full? Makes me feel like I’ve gotta pee. Don’t you feel like you’ve got to pee?
ALEXIS
Ummm, yeah, I guess.
JOHN
You can go first if you want. They’ve only got one bathroom.
ALEXIS
Ok. Thanks. You’re so gentlemanly.
JOHN
Yeah, well, ladies first.
[Alexis exits to the bathroom.]
[John stands up, walks over to the bar and starts smashing full liquor bottles everywhere, all over the bar and the tables. Then he takes a pack of matches out of his back pocket, lights one, looks at it for a while, then throws it on the bar. The flames spread quickly. Then the sprinklers come on, putting the fire out and flooding the bar. John stands, in the middle of the bar, wet, exhilarated.]
[Alexis comes back.]
ALEXIS
What happened?
JOHN
The sprinklers just started going.
ALEXIS
Oh my god.
[John kisses Alexis. Pulls back, looks in her eyes.]
JOHN
Can I ask you a question?
ALEXIS
What kind of question?
JOHN
Don’t you think fire’s kind of sexy?
The end.
By Sam Alper
Music Assignment #3
Note: The melodic line is influenced by a pop sensibility. The emphasis is on simplicity, familiar chords (in this case, human interactions and current events), and repetition of a phrase that is looked forward to. The success is debatable, but these were the intentions.
[A bar in Australia. Two young Americans sitting at a booth, Alexis and John. Both very attractive, dressed well. Look like they’re sixteen or seventeen. The bartender comes over and sets down two Fosters.]
BARTENDER
Fosters, Australian for Beer.
[Alexis and John laugh.]
BARTENDER
How old are you two again?
JOHN
Twenty eight.
[Bartender laughs.]
BARTENDER
Together? Sorry, have a nice date kids.
[Bartender walks away.]
ALEXIS
Oh, this isn’t a date, right?
JOHN
Right. No way. We’re just chilling.
ALEXIS
Yeah, chillaxing.
JOHN
I need some time away from that tour group. I don’t think there’s one person here with us I like except you.
ALEXIS
Same. Rufus is such a creeper.
JOHN
Yeah.
ALEXIS
He tried to grab my boobs.
JOHN
What? How?
ALEXIS
He was leaning over me on the bus and he grabbed my boob and I was like “what the hell Rufus?” and he was like “I’m just getting my digital camera”.
JOHN
Nuts to that guy. Nuts all over that guy.
ALEXIS
I know. Where were you that day? I would have come and sat next to you.
JOHN
Oh, I got lost, actually, and missed the bus.
ALEXIS
Wow, was that scary?
JOHN
It was fine.
[Pause. They sip the beer.]
JOHN
“Fosters, Australian for beer.”
[They laugh.]
ALEXIS
Ok, I’ve got a question.
JOHN
What kind of question?
ALEXIS
A personal question. If that’s ok.
JOHN
That’s ok.
ALEXIS
Do you think I’m cute?
JOHN
I’m not going to answer that.
ALEXIS
Come on.
JOHN
Do you think I’m cute?
ALEXIS
Yes.
JOHN
Well, ok, I think you’re cute.
[Bartender comes over.]
BARTENDER
Excuse me you two, you know with the fires… We might be closing early today. I’ll tell you.
ALEXIS
Ok.
JOHN
What fires?
ALEXIS
Oh the fires you know, the huge wildfires. They’ve been all over the news.
JOHN
Oh, right, the fires. Those are awful.
ALEXIS
Supposedly all this amazing forest has been burned down. The plan was to go and visit it but the day before we were supposed to go the fires started. It’s really tragic.
JOHN
Yeah. Tragedy is… yeah.
[Pause. They drink.]
JOHN
“Fosters, Australian for beer.”
[They laugh.]
ALEXIS
So, ok, personal questions.
JOHN
Personal questions.
ALEXIS
How many girls have you made out with in your life?
JOHN
Seven.
ALEXIS
No counting. Wow.
JOHN
Yeah… ummm…I… Well actually I’ve never really made out with a girl.
ALEXIS
Really?
JOHN
Yeah, you know how people can be… ummm… kinky. I think I’m kinky.
ALEXIS
What do you mean?
JOHN
Well, like things that other people don’t think are sexy are sexy to me. Sorry, I know that seems weird.
ALEXIS
No, I think that’s kind of cool. You’re different.
JOHN
Yeah.
[Bartender gets a phone call. He answers it and starts talking really fast, loud, urgently. It’s clear that it’s a personal emergency.]
JOHN
How many boys have you made out with?
ALEXIS
Ummm…that depends.
JOHN
On what?
ALEXIS
On what happens today.
[Alexis takes Johns hand in hers. Bartender throws on a jacket and runs out the door.]
JOHN
Where’d he go?
ALEXIS
I don’t know, does it have something to do with the fires, do you think?
JOHN
I guess. He just left us alone in the bar?
ALEXIS
Yeah. We should probably go.
[They don’t get up.]
JOHN
We should watch the bar for him. That’s what we should do.
ALEXIS
Yeah. I hope his house and family are ok, he was nice, that Fosters joke…. It’s so sad. I heard somebody started the fires, like it was an arson.
JOHN
Really? I’m pretty sure they were an accident.
ALEXIS
How do you know?
JOHN
That’s just what I’ve heard.
ALEXIS
Well they’re saying now it looks like arson.
JOHN
Oh. That’s just not what I heard.
ALEXIS
Oh. Well, whatever.
JOHN
Yeah. I can’t believe he left us all alone in the bar.
[Pause. They sip the beer.]
JOHN
“Fosters, Australian for beer.”
[They laugh. Pause. Alexis leans in and kisses John.]
[John pulls away.]
ALEXIS
What’s wrong?
JOHN
Nothing. I had so much beer. Doesn’t it make your stomach feel full? Makes me feel like I’ve gotta pee. Don’t you feel like you’ve got to pee?
ALEXIS
Ummm, yeah, I guess.
JOHN
You can go first if you want. They’ve only got one bathroom.
ALEXIS
Ok. Thanks. You’re so gentlemanly.
JOHN
Yeah, well, ladies first.
[Alexis exits to the bathroom.]
[John stands up, walks over to the bar and starts smashing full liquor bottles everywhere, all over the bar and the tables. Then he takes a pack of matches out of his back pocket, lights one, looks at it for a while, then throws it on the bar. The flames spread quickly. Then the sprinklers come on, putting the fire out and flooding the bar. John stands, in the middle of the bar, wet, exhilarated.]
[Alexis comes back.]
ALEXIS
What happened?
JOHN
The sprinklers just started going.
ALEXIS
Oh my god.
[John kisses Alexis. Pulls back, looks in her eyes.]
JOHN
Can I ask you a question?
ALEXIS
What kind of question?
JOHN
Don’t you think fire’s kind of sexy?
The end.
Welcome & Reading List
Welcome to the blog for Brown's Spring Semester Music class!
Here is a place where we can further discuss the concepts, examples, and iterations for the advanced play writing class taught by Lisa D'Amour.
The reading list for our class is as follows:
*This is Your Brain on Music by Daniel Levitin
Here is a place where we can further discuss the concepts, examples, and iterations for the advanced play writing class taught by Lisa D'Amour.
The reading list for our class is as follows:
*This is Your Brain on Music by Daniel Levitin
Contemporary Composers on Contemporary Music by Elliot Schwarz
*Talking Music by Willian Duckworth
All American Music by John Rockwell
The Classical Style by Charles Rosen
*The Rest is Noise by Alex Ross
Ornette Coleman: A Harmelodic Life by John Litweiler
*Style and Idea by Arnold Schoenburg
Fundamentals of Music Composition by Arnold Shoenburg
*Give My Regards to Eight Street by Morton Feldman
Philosphy of New Music by Theodor Adorno
*Essays on Music by Theodor Adorno
*Empty Words by John Cage
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