Musicological Analysis Of Musical Fiddler On The Roof

Musical is a comprehensive form of art which mixes music, dance and drama together. There is a wide range of themes for musical, some of which even follow strictly to the social trend and reflect people’s living condition in a recreational way. However, the recreation is not only a simple kind of entertainment, but contains sarcasm and reflection. The performing form of musical is different from traditional vocal singing or dancing, since it takes audience’s demand as its creation target. Being in accordance with common people’s aesthetics is a vital reason for its being focused and favored by audience.Fiddler on the roof is one of the classic plays in America musical history, not only on the stage in Broadway but also in the history of musical. It reflects the history of Jew in Eastern Europe. It is may not be easy for such sensitive theme of Jewish people to succeed, mostly because its unique characteristic separates itself from common audience. However, this musical reserves its Jewish style. From one aspect, because the director Robins, songwriter Harnick and composer Balk are all of Jewish decent, Jewish style is guaranteed in this musical, from national dance, minor music, to simple but traditional stage setting. From another, based on living experience in America-the melt pot for ages, these artists understand audience’s interests and preference and make sure that this musical is embraced. Fiddler on the roof portrays Jewish people’s inner world in a literary realistic approach, and this musical gains extensive attention and sustained influence because of its rich life philosophy.This thesis analyzes this musical according to the analytical method of musicology. Chapter One is a general introduction, including the director Robins, songwriter Harnick, composer Bock, the creation background and development of this musical. Chapter Two discusses the musical character of the Fiddler on the roof from the view of noumenon. This thesis analyzes the parts of overture and three vocal works from the aspects of harmony, form, rhythm, motive etc. as well as the dance, and then summarizes musical characteristics. By exploring musical’s emergence and development from the perspective of social history environment, Chapter Three discusses the acceptance of this musical, the reason for that and its profound cultural connotation.