Writing and publishing

This dissertation examines the role of speech inflection in the composition of melodies of American musical theatre and investigates how composers approached speech inflection in their work throughout this genre's history. Through analysis of songs and interviews with composers, this dissertation investigates the relevance of speech inflection in the various styles of composition existing on Broadway. The main focus of musical theatre compositions, especially post Rodgers and Hammerstein's musical Oklahoma, is to move the plot along through songs. Therefore, the delivery of the text must be of ultimate consideration in the writing of modern musicals. A well-written speech-melody facilitates the process of a speech-melody-interpretation, which will result in the delivery of lyrics with an understandable, natural sounding quality. This investigation happens through a chronologic evaluation of the relevance of speech inflection during each of the distinct phases on Broadway, as well as an examination of the approach to writing with a speech-melody focus of each individual composer throughout history. This study explores the importance of speech inflection in American musical theatre songwriting focusing on a speech-melody approach to composition.

The popular culture of the past three decades owes a great deal to the creativity and musical impact of the artists featured in Retro-Respect. The project's objective was to carefully select ten of this generation's most influential recording artists and, as a musical tribute, produce and record unique arrangements of songs by each of them for an audio CD. Each featured artist has at least a 30 year history of influence and recognition as being among the industry's best, and all remain musically active today. Included are Aerosmith, Chaka Khan, Stevie Wonder, Steely Dan, Bonnie Raitt, Sting, The Eagles, Eric Clapton, Elton John and David Bowie. Retro-Respect was produced and arranged by Kam Falk. Each of the eight vocal and two instrumental songs features a different ensemble with Falk performing on six-string bass, fretless four-string bass, keyboards, vocals and drum/ percussion programming.