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Jul 25, 2010, 10:35:07 PM7/25/10

Music
In these two measures of "What a Piece of Work Is Man", the red notes
indicate a weak syllable on a strong beat.

After studying the music of the Bantu at Cape Town University,[50]
McDermot incorporated African rhythms into the score of Hair.[9] He
listened to "what [the Bantu] called quaylas... [which have a] very
characteristic beat, very similar to rock. Much deeper though.... Hair
is very African – a lot of [the] rhythms, not the tunes so much."[9]
Quaylas stress beats on unexpected syllables, and this influence can
be heard in songs like "What a Piece of Work Is Man" and "Ain't Got No
Grass".[92] MacDermot said, "My idea was to make a total funk show.
They said they wanted rock & roll – but to me that translated to
'funk.'"[93] That funk is evident throughout the score, notably in
songs like "Colored Spade" and "Walking in Space".[93]

MacDermot has claimed that the songs "can't all be the same. You've
got to get different styles.... I like to think they're all a little
different."[4] As such, the music in Hair runs the gamut of rock: from
the rockabilly sensibilities of "Don't Put it Down" to the folk rock
rhythms of "Frank Mills" and "What a Piece of Work is Man". "Easy to
be Hard" is pure rhythm and blues, and protest rock anthems abound:
"Ain't Got No" and "The Flesh Failures". The acid rock of "Walking in
Space" and "Aquarius" are balanced by the mainstream pop of "Good
Morning Starshine".[94] Scott Miller ties the music of Hair to the
hippies' political themes: "The hippies... were determined to create
art of the people and their chosen art form, rock/folk music was by
its definition, populist. ...[T]he hippies' music was often very
angry, its anger directed at those who would prostitute the
Constitution, who would sell America out, who would betray what
America stood for; in other words, directed at their parents and the
government."[50] Theatre historian John Kenrick explains the
application of rock music to the medium of the stage:

The same hard rock sound that had conquered the world of popular
music made its way to the musical stage with two simultaneous hits –
Your Own Thing [and] Hair.... This explosion of revolutionary
proclamations, profanity and hard rock shook the musical theatre to
its roots.... Most people in the theatre business were unwilling to
look on Hair as anything more than a noisy accident. Tony voters tried
to ignore Hair's importance, shutting it out from any honors. However,
some now insisted it was time for a change. New York Times critic
Clive Barnes gushed that Hair was "the first Broadway musical in some
time to have the authentic voice of today rather than the day before
yesterday."[95]

The music did not resonate with everyone. Leonard Bernstein remarked
"the songs are just laundry lists"[96] and walked out of the
production.[97] Richard Rodgers could only hear the beat and called it
"one-third music".[96] John Fogerty said, "Hair is such a watered down
version of what is really going on that I can’t get behind it at
all."[98] Gene Lees, writing for High Fidelity, claimed that John
Lennon found it "dull", and he wrote, "I do not know any musician who
thinks it's good."[86]
[edit] Songs

The score had many more songs than were typical of Broadway shows of
the day.[5] Most Broadway shows had about six to ten songs per act;
Hair's total is in the thirties.[99] This list reflects the most
common Broadway lineup.[100]
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