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¶ … songs from the musical "Oklahoma!" Specifically, it will include an analysis of "I'm Just a Girl who can't Say No." How does the song transition from the text? What does the song do for the musical? What does the words and music reveal about the character?
OKLAHOMA!
I'm Just a Girl Who Can't Say No" is one of the most humorous songs in the musical "Oklahoma!" In it, Ado Annie, a kind of sad character who does not seem to have much chance of catching a man, talks about how she cannot say "no" to kisses and romance. "Other girls are coy an' hard to catch / But other girls ain't havin' any fun! / Ev'ry time I lose a wrastlin' match / I have a funny feelin' that I won!" (Oklahoma!). Annie recognizes that she may not be the most attractive of the girls, but she is a little more adventuresome, and so, she probably will have more fun in the end. Of course, she wants to get married just like the other girls, but she is more forward, so she has more...
When she sings to Ali Hakim, the traveling peddler, in his buggy, she is letting him know she is ready for romance, but not necessarily with him. She is really trying to make her boyfriend Will jealous, and it works, because she ends up marrying Will, so she becomes a girl who can say "yes."
The song moves Annie and Ali into his buggy for a romantic ride, and help set the stage for jealousy in the girls. Laurey is going to the box social with someone other than her boyfriend Curly, and Annie decides to go with Ali because her boyfriend, Will, cannot afford to get married, because he spent the fifty dollars he was saving on presents. Laurey is trying to make Curly jealous, and Annie is doing the same thing to Will, and so her song helps make it clear the girls are trying to get the boys to marry them. Annie does not really want Ali, but her father almost forces him to marry her after their buggy ride, because he knows what kind of…
Bibliography
Oklahoma!. Dir. Fred Zinnemann. Perf. Gordon MacRae, Shirley Jones, Eddie Albert, and Gloria Grahame. RKO Radio Pictures Inc., 1955.
Singer, Barry. "In Yiddish Music, a Return to Roots of Torment and Joy." New York Times (August 16, 1998): 32. In this article, Barry Singer notes the changes Yiddish music underwent as Jews emigrated from Europe to America, and compares the evolving nature of Yiddish folk songs during the nineteenth and twentieth centuries to more recent developments in Yiddish music. This article is useful because it allows one to trace an unbroken
Ethnic Music Humanities a) Origin and Development of Traditional and Contemporary Ethnic Music My personal experience in learning this subtopic reveals to me that music is a global cultural practice found in every known culture, both in the past and present, but with a wide variation with regards to time and place of practicing it. Since every ethnic group around the world, including some of the most secluded tribal groups, depicts their
The author then proceeds to contradict himself or herself by referring to the Black Eyed Peas as mainstream. So, are the Black Eyed Peas up-and-coming or mainstream? Moreover, the author contends that it was refreshing to have a "mainstream music group" release a song with a positive message when the music the band was not considered to be mainstream until the release of "Where is the Love?" And the
The basic materials might include tin cans, fragments of speech, a cough, canal boats chugging or natural snatches of Tibetan chant (all these are in a work called Etude Pathetique). Musical instruments are not taboo: one piece used a flute that was both played and struck. Differences in balance or performance can also be used to extend the range of materials. All of this is very similar to the way