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Part II: Brief Takes
Chapter 8
“Over the Rainbow” and the Art of the Musical Cover
CHAPTER S
UMMARY
This chapter is a primer of sorts for teaching students to write about music: that is, using words to describe and
comment on a non-verbal art form. This is a challenge, just as writing about painting and architecture, other
non-verbal forms, is a challenge. One reason: music’s emotional effectiveness can be difficult to express
verbally. Writing about music requires a different approach from that used to analyze literature.
The chapter focuses on the art of the cover song (a well-known song recorded anew by someone other than the
original artist). Covers are fascinating because listeners want to see what interpretation a new artist brings to a
familiar song. First, students explore covers of “Over the Rainbow” by Harold Arlen and Yip Harburg (1939),
TEACHING S
UGGESTIONS
Students will come to your class with differing musical tastes and musical backgrounds. Make clear to students
that taste is only one factor in writing about music; the writing they’ll do in this chapter will be more objective
at times, dealing with technical aspects of a song, such as phrasing, tempo, and instrumentation. To help them
do so and acquire a vocabulary for discussing music, students should read but, more importantly, view Greg
Blair’s glossary of musical terms. His demonstration of terms, generally on saxophone, and his explanations
are both entertaining and informative.
To begin the chapter, ask students these questions: What is a cover? What are some of your favorite covers?
(Have someone keep a list for the class, including song title, original artist, and cover artist.) What is good
The Art of “Over the Rainbow” (p. 217)
The editors
SUMMARY
Behrens and Rosen explain the AABA structure of “Over the Rainbow” and then ask the student to go to
YouTube, listen to Judy Garland’s classic version from The Wizard of Oz, and then listen to five covers. The
differences of interpretation are striking, Then the authors offer another dozen or so versions sample and
analyze. Students have the option of reading the glossary beginning on page 000 before completing this section.
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TEACHING
SUGGESTIONS
Students may be overwhelmed at the number of options here, as may you, so feel free to pick and choose. You
might require students to listen only to the first several in the list (beginning with Garland) and then let them
Who Put the Rainbow in The Wizard of Oz? (p. 220)
Harold Meyerson and Ernie Harburg
S
UMMARY
Quoting liberally from Yip Harburg’s (the lyricist’s) accounts, the authors relate how “Over the Rainbow” came to be
written—with much difficulty, both the music and the lyrics. One fascinating detail: It was Yip Harburg who
introduced the “rainbow” into the movie via the signature song. As a consequence, the Kansas scenes were shot in
black and white (a place devoid of color) while the Oz scenes were shot in color.
TEACHING S
UGGESTIONS
Aside from learning about the circumstances of composition of “Rainbow,” students may be intrigued by the creative
Video Link: Why “Over the Rainbow” Takes us to a Magical, Musical Place (p. 224)
PBS NewsHour Interview with Composer Rob Kapilow
S
UMMARY
Rob Kapilow is an accomplished composer and musician in his own right, and it a real pleasure to watch him explain
the special appeal of “Over the Rainbow.” Urge students to go to the PBS web site and view Kapilow’s lesson—which
TEACHING S
UGGESTIONS
Kapilow demonstrates how musical notations on a page correspond to feelings and themes like yearning and returning
home. After students watch the video—which, with the proper equipment you might want to play in class—try asking
students to explain how it’s possible to capture a theme or a feeling in music. How do the notes express ideas and
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The Sincerest Form of Flattery (p. 225)
George Plasketes
S
UMMARY
Plasketes explains what musical covers are in this piece and directly refutes the old adage: “never expect anything
original from an echo.’’ He writes that this “does not necessarily ring true with covers” and then explain why. Students
who read Plasketes will understand that covers are not merely derivative works. They are, or can be, works of art in
themselves.
TEACHING S
UGGESTIONS
Plasketes offers a clear principle for analysis in this essay: “With music, the song undergoes a recontextualization,
remaining in the same medium, with the artists translating the material into a particular style. Measuring the
A Treatise on Covers (p. 227)
Tom Bligh
S
UMMARY
Bligh’s essay is titled “A Treatise on Covers,” and the author isn’t shy about sharing his opinions about covers and
their place in the musical universe. While covers can be derivative and uninspired, they can also “show both artists in a
new light” and allow us to experience the pleasures of a familiar song in a different way.” Far from being a parasitic art
form, covers are works of art in themselves that “can supersede their creators.”
TEACHING S
UGGESTIONS
Bligh makes a series of unalloyed, strongly opinioned statements. Whether students agree or not, they should be able to
spot such statements. You might review with students the differences between mild and strong assertions, then ask
How to Talk—and Write—About Popular Music (with Video Link) (p. 229)
Greg Blair
S
UMMARY
Blair provides an alphabetical glossary of fifteen musical terms: accompaniment, dynamics, harmony,
TEACHING S
UGGESTIONS
Reading the glossary straight through may be an abstract experience for some students, so encourage students
to read the glossary and watch the videos at the same time. Also, you most likely have some students with a
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musical background, so ask them if they’d like to add more terms to the class’s knowledge base. As with any
glossary, making flash cards, either on paper or online are a fun way to cement student’s understanding of
Comparing and Contrasting Three Covers of “Stormy Weather” (p. 233)
Greg Blair
S
UMMARY
Blair compares versions of “Stormy Weather” performed by Lena Horne (1943), Royal Crown Revue (1989),
and The Kooks (2004 or later). He describes them, respectively, as “warm and lush,” “up-tempo, finger-
TEACHING S
UGGESTIONS
Explain to students that in order to create a valid comparison, Blair is careful to include the same informational
points in each analysis. Have students list the aspects of the song Blair includes for all three versions (singer,
date, musical style, singing style, instrumentation, structure, musical entrances and exits, shifts in mood, and so
on).
Covers of “Stormy Weather” (p.235)
S
UMMARY
TEACHING S
UGGESTIONS
Students may be overwhelmed at the number of options here, as may you, so feel free to pick and choose. You
Covers of Leonard Cohen’s “Hallelujah” (p. 237)
S
UMMARY
Leonard Cohen’s song “Hallelujah” has been recorded by at least 170 artists since he first released the song in
1984. Behrens and Rosen’s list of covers isn’t exhaustive but includes an excellent range of musical styles and
moods. The authors invite students to listen and ask them to explain their preferences.
TEACHING S
UGGESTIONS
Students may be interested in learn that in 2009, Leonard Cohen asked for a respite on covers of “Hallelujah.”
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The Greatest Covers of All Time (p.239)
Andy Greene
S
UMMARY
Andy Greene of Rolling Stone compiled a list of the ten best covers, providing a bit of the backstory of each
one. He includes, beginning with number 1, Jimi Hendrix’s version of Bob Dylan’s “All Along the
Watchtower”; Johnny Cash’s version of Trent Reznor’s “Hurt”; Jeff Buckley’s cover of Leonard Cohen’s
TEACHING S
UGGESTIONS
In several cases, when describing the circumstances around a song’s popularity, Greene mentions that the song