The Music Theory of Disney Villains | Sam Zerin | Skillshare

The Music Theory of Disney Villains

Sam Zerin, Become fluent in music!

The Music Theory of Disney Villains

Sam Zerin, Become fluent in music!

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10 Lessons (43m)
    • 1. Intro

      0:52
    • 2. Evolution of the Disney Villain

      13:48
    • 3. Technique #1: Don't Sing

      4:17
    • 4. Technique #2: Blur the Boundaries Between Singing and Speaking

      3:31
    • 5. Technique #3: Sing out of Tune

      4:05
    • 6. Technique #4: Sing with a "Masculine" Voice

      3:14
    • 7. Technique #5: Sing with a Queer "Masculine-Feminine" Voice

      4:37
    • 8. Technique #6: Jump Around Octaves

      4:00
    • 9. Analyzing "Shiny" from Moana

      4:09
    • 10. Outro

      0:52
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About This Class

You know it, I know it... Disney villains have the greatest songs.

But did you know that until 1989, Disney villains almost never sang? For at least 500 years, musicality has been associated in the Western world with innocence and purity, while lack of musicality signifies evil and corruption. This is why Snow White sings beautifully, while the Evil Queen never utters a note. This is why Cinderella's evil stepsisters, who do sing briefly, sing horridly (out of tune, roughly, with no expression) while Cinderella sings gorgeously.

When Alan Menken wrote the music for Little Mermaid in 1989, he completely revolutionized the world of Disney villain songs. Nearly every Disney villain from that point forward got their own powerful solo. But unlike heroes, their singing is in many ways antithetical to Western musical standards: they blur the boundaries between song and speech; they have growly, unpolished voices; their melodies can be unpredictable and capricious.

But if all of this is true, then how do we explain sweet, innocent characters like Dopey (from Snow White) and the human version of Ariel (from Little Mermaid) who can't even talk, let alone sing? How do we explain the villainous Hans (from Frozen) who sings with a smooth, polished tone?

And what does any of this have to do with the history of musical anti-Semitism???

In this class, you'll dive into the music (and silence) of villains in Disney's animated musicals, from the Evil Queen (in Snow White) to Tamatoa (in Moana). You'll learn how approaches to composing music (and silence) for Disney villains has changed over the course of nearly 100 years, and how it's all fundamentally rooted in a long history of musical anti-Semitism and transphobia in Western music, theater, art, and literature. By the end of this class, you'll have acquired new listening skills and insights that will transform how you hear Disney villain songs, not only in movies of the past, but in new releases as Disney continues to produce new villains and new villain songs.

This class is accessible to people of all levels, from total music theory newbies to professional music theorists.

So what are you waiting for?? Let's watch! :-)

Meet Your Teacher

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Sam Zerin

Become fluent in music!

Teacher

 

As an experienced music scholar, composer, and performer, I have learned that it is not enough to study a textbook. To become truly "fluent" in music – to develop such an experienced ear, feeling, and mind for music that it feels totally natural – we need to unleash our inner curiosity.

Rather than forcing my students through a strict, traditional regimen, I view my work as that of a guide. I help my students explore their own musical passions and goals. I inspire them to ask questions and think independently. I am particularly keen on navigating my students through the vast and amazing world of FREE online music theory resources and communities.

I have taught music theory at New York University, Brown University, and the Borough of Manhat... See full profile

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Transcripts

1. Intro: Greetings. Weary learners. It is I, Sam, your host and the composer of this creed. Be background music here to welcome you. Welcome you to the music theory. Deceiving this class. You will learn about the evolution of the Disney villain song. 24 Distinct errands six Techniques for seem like a Disney villain. How villain music is informed by a dark history of anti Semitism and transphobia. But what if you don't know music theory? What if you do not sing? Well, my friend, have no fear. This is a class for all from the new me to the pro, and what you are about to witness is no ordinary lecture name, but a journey to use it. Transform your experience of Disney's Are you ready? 2. Evolution of the Disney Villain: hello and welcome to the music theory of Disney villains. Before I explain some of the specific techniques for singing like a Disney villain, I want to give you an historical framework for thinking about how the music of Disney villains has changed and also not changed over the course of nearly 100 years. I call this the evolution of the Disney villain song, and I've divided it into four Harris. Now these aren't official heiress. I've made these all up myself. In fact, if you study the history of the Walt Disney studio, it is generally divided into eras. But they've got different names. There's the Silver Age is the Disney Renaissance. But because this course is about the music and specifically the villain music I'm formulating a new list of air is not based on the animation or the studio practices or other things, but specifically based on the ways that villains sing and are musically accompanied. So we've got four errors here. The Silent Era, which begins in 1937 with Snow White. The jolly era beginning in 1950 with Cinderella, the demonic era beginning in 1989 with Little Mermaid and then we've got the question mark . Question mark. Question mark question, Mark. Cool question. Mark era. That's five question marks, but we could have even more question marks in that if we wanted. And it's actually a really confusing era because it's still so recent and new, and I'm not quite sure where it's going to go, which is really exciting and intriguing. All right, so let's go into each of these errors, starting with the silent era. This is the era of Snow White, Pinocchio, Dumbo and Bambi, and the interesting thing about Disney villain songs in this era is that they don't actually exist. The villains rarely sing at all. The Evil Queen and Snow White never sings in Dumbo, the animals that are constantly teasing, almost no singing from them in Bambi the Hunter. Not only do we never see the hunter, but we never hear him sing or even talk. The Onley villain song that I found in this early era isn't Pinocchio when the villain is singing, which isn't even really a villain song at all. I mean, it's sung by the villain, but it's so short and it's not really so villainous. Sounding for the most part, these villains just did not sing. And the reason for this is that in Western culture more broadly, going back hundreds of years, musicality is often associated with purity and goodness, while a lack of musicality, or even an anti musicality is associated with evil and corruption and villainy. So in the silent era, billons don't sing because they can't sing because they're too evil to sing. Then we get to the jolly era of the 19 fifties sixties and seventies, and this is when Disney started hiring Tin Pan Alley composers to write the music. It's when the Sherman Brothers got involved its air of Peter Pan 101 Dalmations, Robin Hood Jungle Book And the funny thing about the jolly era is that the villain songs are actually quite cheerful. They're often in major keys, with nice dance rhythms and typically sung by choruses. For example, in this picture here, you can see Captain Hook, with all of his pirates singing the elegant Captain Hook. It's happy, it's jolly and mostly the pirates air singing until suddenly, at one brief moment, Captain Hook jumps in with his own humorous solo. That special offer for today I'll tell you what I do all those who signed without delay, we'll get a free tattoo. Another interesting thing about the jolly era is that it's sometimes the heroes who sing the villain songs rather than the villains themselves. Remember, the villains are inherently UNM musical. That's part and parcel with their villainy. So 101 Dalmations, for example, The great villain song crew Ella Davila is not actually sung by Cruella de Ville, but rather by Roger, a 10 pin Alley composer who writes this song to make fun of her and to sing about how evil and scary she is through a relative. If she doesn't scare you, no evil thing will know. To save her is to take a sudden chill. Cruel, cruel. Another great example of the jolly era is in Robin Hood. The phoney King of England is not actually sung by the phoney King of England, but rather by Robin Hood and his merry band of friends. The music is jolly, they're dancing, is jolly. They're playing musical instruments, having a grand old time, Really until, of course, we get to the demonic era, starting in 1989. That's when Disney hired Alan Menkin and Howard Ashman to compose the music for Little Mermaid and then Beauty and the Beast and then Aladdin. It's important to realize that Alan Menken and Howard Ashman came from the Broadway tradition of musical drama, and they viewed the villain songs as well as all the other music in their scores, as a chance to really express the personalities of the villains and to really show how evil and scary and monstrous they are. So unlike the Jolly Era, which had these happy songs mostly sung by choruses in the demonic era, we get these long, intense and dramatic solos like Poor Unfortunate Souls and be Prepared and Hellfire. Ah, you're right. This is the error that I think a lot of people think of when they think of Disney villain songs, because this is when villain songs actually tend to sound like Dylan songs. And then we get to the question mark era from 2012 to the present. And what's interesting to me about the question mark era is that it's not always clear anymore who the villain actually is. If you think back to all the other errors, the villains tend to be really clear cut. We know who they are. We know that they're evil. They're very much a part of the plot. But when we get to frozen, for example, or cocoa with music by the Anderson Lopez is, it's not just that it's not clear who the villain is. But it turns out that the person we thought was the hero ends up being revealed at the end as a villain. And when we hear the villains singing, it's when we think that they're heroes. So obviously they're not gonna sound villainous because we're not supposed to know that they're villains yet. And then there's marijuana with music by Lin Manuel Miranda, where there isn't even one clear villain in the movie, right, like it's more like, Ah, whole bunch of little tiny obstacles along the way, right? There's Tom Ato, the crab who appears in just one scene. We've got the coconut pirates who show up in just one scene. You've got the fire demon, but there isn't really a single villain who's driving the plot. It's more just about marijuana going on this quest to save her people, and so because it's not really clear who the villains are anymore. There aren't really villain songs anymore. Again. There is Tomato is song shiny in marijuana. But it's really hard to consider that the villain song, because he's not really the villain driving the plots. He's just there in one scene. So I'm really excited to see how things develop in this new question mark era, and we'll talk a bit more about that later in this class. So those are the four main errors. The silent era, the jolly era, the demonic era and the question mark. Question mark question. Mark question. Mark question. Mark era. But as different as they all are, there are certain aspects of villains voices that remain more or less constant throughout. So let's turn our attention now to six vocal techniques that billions have used throughout Disney's history, which reveal their anti musicality. One technique is just don't sing seems ironic, but remember, it's the hallmark of the silent era. Another technique is to blur the boundaries between speaking and singing. Number three is to sing out of tune. Number four is to sing with a stereo typically masculine voice, and the number five is when the female villains bland stereotypical masculinity and femininity. There's actually quite a lot of transphobia going on in the portrayal, not just of Disney villains, but if opera villains in musical theater villains more broadly, and we'll talk about that later in this class. The last technique I want to share with you is to jump around octaves like a crazy virtuoso . It's really interesting to ask why. Why are Disney villains portrayed in these ways? Why is musicality associated with purity and anti musicality associated with evil? Why do Disney villains jump around octaves like crazy virtuosos? Why do they sing out of tune? And why do they have these super masculine voices? There are probably a lot of answers to these questions, but one of the answers, believe it or not, involves the history of musical anti Semitism. That's something a lot of people don't know about. And I wouldn't go so far as to say that Disney is anti Semitic for playing into this history of musical anti Semitism. But take a look. For example, at this political cartoon from an early 19th century British newspaper. It's called Family Quarrels, or the Jew and the Gentile on the left side. We've got this Christian singer, and you can see that his music is very typical of classical aesthetics. It's got quarter notes. It's divided into for measures. It's very tonal, starting on the tonic and ending on the dominant. It's marked conspiracy on A with expression and moderato, a fairly comfortable pace that is not too fast and not too slow. And, of course, the polite Christian audiences oh so politely yelling Encore! Encore! And then on the other side, you've got this anti Semitic caricature of a Jewish singer. Take a look at his melody. It doesn't even have a trouble or bass clef. It just starts off with this wild scale of 16th notes flying way up several octaves. And then it's got these multiple octave leaps, super high and then low and it's super high again and then low. And then you've got these fancy arpeggios to show off, and my favorite part is at the end, when he's got this half note that's marked trail, and it's marked to be held for for how many minutes does it say? Hold the troll for 17 minutes, 17 minutes, and to top it all off, the whole thing is marked Allah squeak condo to be sung in a squeaky manner. Meanwhile, the Jewish audience members, with their pointy beards and hooked noses, are very rudely shouting Mine caught How he shing, my God, how he sings. So what's the point of this cartoon? It's playing on an old anti Semitic stereotype, going back at least 500 years that Jews are not just UNM use ical but anti musical that Jews Onley care about showing off and being fancy virtuosos and making money and wowing their audiences. And they don't really care about the actual musicality of what they're doing. Of course, as a Jew myself, I find this utterly revolting. But once you understand this history that so influenced not just visual art but the ways that Jews and other villains are portrayed in opera and musical theater and in literature as being very anti musical, you start to see the connections. In fact, if you read something like the Prior is's tale from Chaucer's Canterbury Tales, it's about this innocent Christian child who goes singing through the Jewish Quarter and the juice can't stand music. So they slit his throat to silence his voice. But miraculously, the boy continues to sing anyway. It's kind of like The Little Mermaid right that could be a whole course of its own. But I just want to mention it here to make clear that when we talk about music theory, it's not just this abstract thing about black dots on white paper. It's not just that we're talking about the music itself right saying, Oh, I think this. I think that I mean, yeah, Ultimately, what we're discussing is the music itself, and that's important. But the music itself is rooted in culture and society in history, and a lot of musical techniques often have very disturbing pasts. I can see that my fairy friend here is very distressed by all of this. So without further ado, let's dive straight in and talk more in depth about each of the six techniques for singing like a Disney villain. 3. Technique #1: Don't Sing: all right, so the first technique for singing like a Disney villain is to just not sing at all. I know my fairy friend thinks that this is a great opportunity to just go to sleep, right, But it's actually more complicated than that, As I mentioned in the world of Disney music and in the broader world of opera and musical theater, musicality is associate ID with purity, with heroism with goodness, whereas the lack of musicality or anti musicality is associated with corruption, with impurity with evil with villainy. And so in these earliest Disney films, like Snow White in the Seventh War, Dumbo, Bambi, the villains just don't Sing. The opposite of that is also true princesses in the hero's sing because they're good and it shows how good they are in the villains don't sing because they're evil. I've just put some examples here of villains that don't say, including in later villains as well. You know Cruella Deville doesn't sing. Even in the 19 nineties. Haiti's doesn't sing, but there's a really interesting thing that comes up in the silent era, which is there even some protagonists who don't sing. If we think about dopey from Snow White and the seven dwarves. Sweet, dopey right. He doesn't even talk, let alone sing in cocoa. We have Miguel's great great grandmother who not only does she not sing, but she's even opposed to singing. And yet she's not the evil villain that maybe we think in the beginning of the movie, she she's actually trying to protect Miguel. She's a good guy but doesn't sing. And then we have aerial right Ariel, who, of course, sings and sings and sings until her voice is stolen and then she doesn't sing right. So are we going to say that Ariel becomes a villain when she loses her voice? Are we going to say that Dopey is actually secretly evil and plotting the destruction of the world? Because he doesn't sing well? Remember, musicality is not just associated with goodness, and anti musicality is not just associated with evil musicality. Generally speaking, is associated with purity, and it's because villains lack purity, that they're so evil and they can't sing. So then the question is, OK, why doesn't dopey sing? Why doesn't Miguel's greater grandmother sing for most of the movie? White doesn't aerial sing when she loses her voice. Well, maybe that's obvious. But like, what does it mean that Ariel loses her voice? Well, I think in aerials case, it's very clear that she loses her voice as a result of trauma. Her voice is literally ripped out of her throat. Miguel's great grandmother and Coco was actually a singer, right? She was a performer in her day, but then she was so traumatized by the death of her husband, who she thought had actually abandoned the family, to go on a on singing tour instead of prioritizing his family. And so she stopped singing. And then Dopey has actually kind of interesting. Um, you know, we don't hear that much about the backgrounds of the dwarves in Snow White. But in the early two thousands, there were actually plans to produce Ah, prequel to Snow White and the seven dwarves. That would explain a lot of different things like, how did that evil wizard get trapped in the magic mirror? How did the evil queen become the queen? How did the dwarves end up living together? And one of the back stories that they were very interested in explaining is who is dopey and why does he not talk? And the idea that they came up with is that when dopey was a child, he witnessed the murder of his mother, and that experience of seeing his mother's death was so traumatizing that he lost the ability to talk and sing. Remember, musicality is about purity, and lack of musicality is about this loss of purity or never having that purity To begin with, Dopey lost his purity and therefore his voice when he witnessed his mother dying aerial lost her voice and her purity. When she struck this deal with Ursula, Mingles great grandmother lost her her purity and her musicality when she was traumatized by what she thought was her husband's abandonment of the family. So enough of this. This technique just don't sing. Let's go on to technique number two, which is about blending, singing and speaking 4. Technique #2: Blur the Boundaries Between Singing and Speaking: all right, So now we get to them to the second technique to sing like a Disney villain. And that technique is to blur the boundaries, the distinctions between speaking and singing. One of the ways that Disney villains are not just on musical but sort of anti musical is that often times when we think that they're singing, it's almost like they're not singing, they're talking. It's like they're trying to sing, but they just can't get the melody out. A really, really great example of blurring speech and song is from one of the more recent Disney movies tangled in the reprise of Mother Knows Best. It's a great example where she's singing in the sense that she's got some sort of shape to her melody and and she's coming in on with a certain rhythm on certain beats and fitting within the meter. And yet, if you try to know Tate with musical notation, the exact melody that she's singing it would be very, very difficult to Dio because it's almost like she's talking in meter. Rapunzel knows best Rapunzel so much Sure, no, Such a clever, grown up miss knows best. Fine. If you're so sure now go ahead, then give him this. Another really great example of this is Scar in Lion King, one of the most villainous things about scarred there a lot of villainous things about him . But one of the most villainous things about Scar is his voice, and when he sings again, he blurs this boundary between singing and speaking right? So, like, just listen to this example from Be prepared and you can hear how it's not entirely singing . But it's also not entirely talking and kind of like Mother Gothel in the previous example from Tangled, he's shouting a lot and sort of growling a lot, and I think that plays into why it doesn't always sound like he's entirely singing. I know that your powers of retention autos wet warthogs back side, my words are, and let's go back just further because what I want to really emphasize here is that even though the different eras have different characteristics, what's really consistent throughout is the idea of the villains voices being very anti musical, right? So we looked at this example from 2011 entangle. We looked at Lion King from the early 19 nineties, but if we go back even farther to the sword in the Stone. There's this wonderful villain song sung by mad Madame Meme, and her voice is all over the place. She's talking. She's singing. If you look up the lyrics, you can see that there are parts where she's clearly talking and those lines don't show up in the lyrics. Other points where she's clearly singing in those parts are definitely in the lyrics. But then there were these other moments where it's not actually clear. So, you know, listen, for example, to the end of the song and you'll hear how it's like she's talking. But she's talk singing right, and she's thing talking, blending the boundary because she's so anti musical that even if she wants to sing, she just can't sustain a melody. But that's the second technique to blend, singing and speaking. And now let's go on to the third technique, which is to sing out of tune 5. Technique #3: Sing out of Tune: all right, So now we get to a great technique, which is to sing out of tune. And this may at first seem like a really strange thing, because the voice actors who play Disney villains tend tohave really good, highly trained voices. It's not like they the voice actors can't keep a tune right. So when we do hear them singing out of tune, it's important to remember that this is intentional. It's a way of expressing how evil and anti musical they're villains are. Let's examine a classic example from Cinderella. It's that scene where the evil Step Sisters are practicing a duet together, one of them singing and the other playing the flute while the evil stepmother companies on the piano. Their performance is so awful and so out of tune that even the evil cat Lucifer cringes in pain. And it's not just that they're singing out of tune. The phrasing is off their out of sync with each other. They have no sense of dynamics, and their tone is completely careless. Cash shaped the oh I me so that's pretty terrible. But what makes this a truly fabulous example for us to consider isn't just their awful performance. It's what happens right afterwards, after Lucifer, the cat flees the room to escape the terrible music. The camera pans down stairway toe, where Cinderella is singing the exact same song, but her performance as a Disney princess could not be more contrasting. Not on Lee. Does she sing perfectly in tune, but she's got this beautifully polished voice, Amazing phrasing, a sensitive approach to rhythm. And then there's the harmony. Did you know that Cinderella was actually the first movie soundtrack in history, where one of the singers sang all the different harmonies and then over laid them in the studio to make it sound like she was accompanying herself? So it's not just that her singing is beautiful. She's so inherently musical that she just radiates harmony. It's the perfect foil to her anti musical stepsisters way. Now let's discuss a second example, and I can almost guarantee that you've never heard it before. It's from Sleeping Beauty, but it was deleted before the film was released. True to the style of the Jolly era, it's mostly sung by chorus of evil minions, not the yellow kind that likes bananas, of course, while Molefe Ihsan herself only sings a brief solo towards the end. Now here's the point. Both Molefe isn't and her minions Singh woefully out of tune with extremely awkward and unpolished voices. Baby cries and from bad rise call the drink and the six in I feel Great but Don Joy is gone and there, wishing they all right. So there are a lot of examples that we could go into it this, but I'm really excited to get on now to the next couple of techniques with you. 6. Technique #4: Sing with a "Masculine" Voice: Our next technique is to sing with a masculine voice. And it's important to emphasize, of course, that we're talking about gender stereotypes. We know that not all men have angry, growly voices. We know that men aren't intrinsically more evil than women, and that women aren't inherently more innocent than men. But when we're talking about the ways that characters are portrayed in film and cartoons in musical theater and opera and literature and art, whatever, it's important to keep in mind that stereotypes do exist and they do influence the ways that villains and heroes are often portrayed. So with that disclaimer, Disney villains are often very masculine, and by that I mean that there are certain aspects of their voices, which make them sound inclined toward violence and insensitivity. For example, their voices often have a certain roughness, an edge that borders on shouting. When we listen to scar from the Lion King, we can hear How is singing is full of snarls and angry outbursts. His voice is scratchy, and Flemmi he enunciates his continents more than his vowels. In some, his voice is a violent assault on classical aesthetics of beauty, a sonic expression of both anti musicality and anti humanity. I know some sorted, but you'll be rewarded when last I get my news. You can also hear this very rough, very growly kind of voice entangled when all the bad guys air singing together in a bar called the Snuggly Duckling. I'm malicious mean it's scary, my sneer could turtle Dari and violence wise. My hands are not the cleanest but the slight by evil look. But wait. Last example I Want to Share With You is from Aladdin in the reprise of Prince Ali. Listen to the way Jafar blurs the boundaries between speaking and singing, particularly the moments where he moves more into the speaking end of things. It's almost like he spitting the words out of his mouth, really spitting them out, enunciating those continents and even growling a bit. Say hello to your personality. Give me because impacting on a one way trip, take a terminal dip. His assets for awesome venue chosen is the end of the day exploring things. Now. What about the female villains? What about Ursula, Madame M and Mother Gothel? It's time to move on to technique number five 7. Technique #5: Sing with a Queer "Masculine-Feminine" Voice: Now that we've talked about the male villains voices, let's switch gears and talk about the female villains. One of the most common misogynist stereotypes of women's voices is how shrill they are and Hillary, who's become very shrill. You know, the word shrill. It should come as no surprise, then, that the singing voices of Disney's female villains, such as Cinderellas stepsisters, Madame M. Mother Gothel are often very shrill way. I'm just saying, Wait, you might be thinking. Shrill voices are high in pitch. But what about Ursula, whose voice is very deep? What about Molefe? Isn't and Cruella DeVille, who also have very low voices. And come to think of it, Mother Gothel, Madame M and Cinderella's stepsisters, despite the shrillness, also have relatively low pitched voices. And there's a reason for that. In the long history of Western opera and musical theater, villains tend to sing with lower pitched voices and heroes, and Disney is no exception. Aerial is a soprano. Ursula is an also reponse Eliza soprano mother. Gothel is a mezzo soprano, Ana is a soprano, and Elsa, who was originally planned as a villain, is a mezzo soprano. The same is true of male characters as well. Simba's voice is higher than scars. Aladdin's is higher than Gia Fars. Quasi Moto's is higher than follows. Why, well, generally speaking, and this is very generally speaking. Higher pitched voices are coded as feminine and therefore pure and innocent, while lower pitched voices are coded as masculine and therefore more violent and corrupt. And it's not just for voices, either. High pitched instruments like flutes and violins are often used for pretty delicate feminine music, while low pitched instruments such as trombones and bassoons are often used for evil, violent and masculine music. In other words, when female villains sing with lower pitched voices than princesses do, it doesn't just make them sound violent. It makes them sound queer lee masculine. In fact, if you listen closely to female Disney villain singing, you might notice many of the quote masculine characteristics discussed in the previous video a certain roughness or scratching us to their tone, a tendency towards shouting or growling and emphasis on continents rather than vowels. This queer blending of masculine and feminine stereotypes is a huge part of what makes female Disney villains sound so villainous. Let's listen to this series of clips from Tangled, for instance, so you can hear how Mother Gothel frequently shifts between smooth, feminine, melodious nous and rough, masculine growling. One moment she's savoring vowels while the next she's accenting continents. One moment her voice is calm and reassuring the next it's angry and violent. One moment she's singing very high. In the next, she's singing very low. In short, she's gender bending, blurring the distinctions between masculine and feminine in a way that's terrifying to the transphobic imagination. With Don't be a dummy, come with Mommy, Mother. No, no, Best. So if he's such a dreamboat, go and put him toe test who almost done. Now let's move on to the last technique, which involves jumping around octaves like a crazy virtuoso. And then we'll finish up in the last video with a close analysis of the song shiny from marijuana 8. Technique #6: Jump Around Octaves: Hooray! We've made it to the final technique. Congratulations and thank you for joining me on this musical quest for our sixth and final technique. Let's talk about jumping around octaves like a crazy virtuoso. It's much less charged in terms of gender issues than some of the previous techniques, but at the same time, it's much more in line with the anti Semitism that we discussed at the beginning of this course than possibly anything else. Let's take a look again at the political cartoon from the early 19th century, which I showed you earlier. It contrasts a beautiful Christian singer with a flashy, show offy Jewish singer to make this claim that Jews care more about money and fame than actual musicality. And as I mentioned before, one of the highlights of the Jewish singers, Melody is a Siris of flashy, super virtuosic leaps between notes that are several octaves. Apart from a classical perspective, such leaps make no musical sense. They're fluff, one might say, and very much in bad taste. This reminds me so very much of a song from Aladdin, the reprise of Prince Ali. Listen carefully to Jeff ours laughter at the end of this song. He laughs once very roughly and then leaps up a huge interval toe laugh again. And then he jumps up even higher and laughs yet again. Export rings this laugh. This evil cackle E from Jafar embodies just about everything I've taught you. In this entire course. It blends the boundaries between speaking and singing, though it has a very definite melodic Contour would be impossible to notated precisely. Its tone is extremely rough, Flemmi and violent in line with the masculine stereotypes we've examined, and it's also shrill, like the stereo, typically feminine cackling of a witch. And it's super impressive. From a technical perspective, just you try laughing like this. Export rings. Another great example of this leaping technique is mad Madame M from Sword in the Stone. Gosh, she's just all over the place. And like Jafari's laughter, her singing embodies many of the techniques we've already discussed. Blurring the distinctions between music and speech, singing out of tune, blending a style typically feminine, shrilly nous with star, a typically masculine, growly nous and, not least of all, jumping around octaves like a crazy virtuoso. Black sorcery is my dish of tea way. It comes easy to be. Once again, congratulations for making it through this course. You've learned so much about the musical evolution of Disney villain songs through four distinct eras, six techniques for singing like a Disney villain and the ways in which villain songs are intertwined with the dark history of anti Semitism and transphobia. In our next and final video, I'd like to bring us up to the present moment, or at least within the past half decade, and discuss that amazing, brilliant villain sung from a wanna shiny Let's Go. 9. Analyzing "Shiny" from Moana: gun comes and trade on what I'm saying. If you keep your pick one pick one funny looking little thing. Don't my grandma. I ate my grandma and it took a week cause she was absolutely humongous. And we mortals have heard of the tail of the crab who became a legend. And I had to know how you being so you less are you just trying to get me to talk about myself? Because if you are, I will gladly do so in song form. We'll tell Murtaugh hasn't always been the scram was a drive little crab once no one no, I can be happy as a clam because I'm beautiful Bay that did your granite Say, listen to your heart. You are on the inside. I need three Webster argument apart Your granny lied rather like a trash from a sunken pirate wreck. Scrub the deck and make it look shine a. I will sparkle like a wealthy woman's neck. Just a sec, don't you now, Fisher down some some they choose anything. McGuinness Oh, here they come. Come, come to the brightest thing back fish dinner. I just love free food. And you like crab cake um, back time. Mm. What do you say, little buddy? Giant Hawk coming up. Well, I'm always having trouble with his look. You're little Sammy. Demi God, What a terrible performance get Get it. You don't swing it like you stew man. Yet I have to give you credit for my start on your tattoos on the outside, just like you. I made myself a work I'll never hide. I can't. Hey, what does like a diamond in the rough struck my stuff My stuff So shine a send your arms But you'll never be enough My shelves too tough My But you can't expect me to be to take apart for you That was sampled me to take a pot You from the one you abandoned You chasing love humans Who made you feel wanted you to meet But just no, it's time to get your ever seen someone in Cause it's the last year ever See they love the Monday me Now you prepare your final plea just for me You'll never be quite a shine You were nice Oh, I I got something shiny for you Heart off Pretty You can't run from me Oh, you can You keep surprising me 10. Outro: Greetings. Weary learners. It is I, Sam, your host and the composer of this creepy music here to congratulate you, congratulate you on completing your theory of things You have learned evolution. Six techniques for seeing like a Disney villain and how villain music is informed by a dark history. 90 Semitism Transphobia This was no ordinary lecture on a on a journey through music, film and culture with the power to transform. Has it transformed your experience of Disney music? But the snow with comments spread the word on Facebook and Twitter spread spread the word so others can learn this, too.