By Ally Kwun C.
When I was a child, I dreamt of being a songwriter. I was mesmerized by the lyrical soundtracks in various movies and television, as well as the songs I sang in choir and
musical theatre. Lyrics seemed to open the heart’s doors when scripted words
couldn’t quite reach, and it sparked a desire to pursue storytelling through
music. I had been writing fictional tales since I could hold a pen, but now decided
to teach myself the piano and began to write simple lyrics and melodies. I wove
them into the stories I’d write in hopes of creating some form of art. However,
as I began to share my dream with others, I was scoffed at and told my ambition
was “impractical” and a “waste of my time.” That, no matter how much time I
dedicated, or how much passion enveloped my heart, I would go “nowhere” and be worth
“nothing.”
I quit the arts shortly after. A decade of theatre, vocal lessons, and choir
wiped clean off my calendars. Writing was all I knew how to do, the only thing
I was “good” at. But “creativity won’t put food on the table,” my mother said. “A
career in writing? How many figures will that make you, like two?” my classmates
would laugh. I caged my creative spark for years, unsure of what my bleak future
could hold. I tried going down paths that weren’t paved for my shoeprints, starting
fires on wood that was charred; I was without passion or purpose. I began to
question why I was even here. But it was then, at rock bottom, that I decided
to revisit the grave I had let others dig for me.
At age 16, I picked up a guitar that I was gifted the year prior but had been
rotting quietly in my closet. I taught myself how to play, and began to write
again, but this time with expression and purpose. I wanted to prove that writing
is more than a “useless entertainment art.” Each word chosen to create a single
sentence is filled with so much intention and meaning. Similarly, lyrical
compositions in fairytales help to transform and develop stories, offering
insights into characters’ emotions, motivations, and the overall arc of the
tale. People resonate with songs that have lyrics that make them feel seen and
understood. Music is our gateway to understanding fairytales on a deeper, more
personal level.
In the classic tale of “Cinderella,” or “The Little Glass Slipper,” by
Charles Perrault, Cinderella finds
solace and hope in the songs she creates while enduring the abuse from her stepmother
and step-sisters. When she is locked in her room and forbidden from attending the
royal ball, she sings a tune to console and reaffirm herself:
“Sing, sweet nightingale, sing,
Let your melody take wing.
Though my steps are worn and weary,
In your song, I find strength dreary.”
Churchill, Frank. Sing Sweet Nightingale. Performed by Ilene Woods, Cinderella, directed by Clyde Geronimi, Walt Disney Productions, 1950.
This verse showcases Cinderella’s strength and determination. Despite her unjust situation, she holds onto her dreams of a life outside her stepmother’s clutches. Her
entire world is shattered, yet she still sings while doing chores and remains
kind to the animals who help her. Her lyrics are filled with hope and a touch
of sorrow, but it’s not just the words; the melody itself depicts her longing
and determination. It’s a somber, slow tempo that allows the viewers to be swept
into her heartbreaking reality, but then ease into a sense of comfort that she
will prevail. The writers of the 1950 Disney adaptation could’ve simply said “Cinderella
is resilient,” but instead, they crafted songs and lyrics that implied it. In
tough times, people tend to turn to worldly goods to fill the empty void inside
of them. But like Cinderella, I turn to music. I’ve built a home inside my
guitar, one that I can return to whenever I please. In the face of adversity, I
go back there, jotting down words to remind myself I am not alone.
~
Literary and music scholars alike have explored the intricate connections between
fairytales and songwriting. In Dr. Emily Jones’s article From Grimm to
Grammy: The Influence of Fairytales on Popular Music, Jones describes how
fairytales provide songwriters with rich roots of material that tap into
universal human experiences and emotions. Jones argues that songwriters often
use fairytales as a type of framework to emphasize themes too complex to put
bluntly, such as love, loss, and redemption, resonating with audiences on a
deeper, more intuitive level.
Similarly, musicologist Dr. Michael Smith explores the musical adaptations of fairytales in his book Once Upon a Tune: Fairytales in Music. Smith writes about
how composers throughout history have drawn inspiration from fairytales to
create operas, ballets, and symphonies that capture the enchanting aura of
these narrative tales. Furthermore, Smith elaborates on how music helps convey
the classic characters and themes of fairytales. He writes, “Just as the
characters of fairytales are defined by their recurring traits and attributes,
so too are the musical themes and motifs that accompany them.” (2018.) By
analyzing the musical methods and structures in these compositions, Smith shines
a light on the incredible influence that music has on the minds of its listeners.
In his world-renowned essay, Breaking the Disney Spell, (1994.) Jack Zipes
provides a comprehensive critique of Disney’s adaptations of classic fairytales
in an attempt to emphasize the philosophical implications of these retellings.
Zipes argues that Disney’s “sanitized” versions tend to strip the tales of
their original messages, with the outcome being a diluted spiel that aligns
with mainstream values. He believes Disney-made musical interludes serve as
marketing tools to enhance the commercial appeal of the films, rather than
authentic expressions of the original story. He writes, “By adding songs,
Disney aims to appeal to a wider audience and sell more merchandise rather than
staying true to the essence of the tales” (25). But while Disney’s
incorporation of music and song does cater to mass audiences, I believe that in
itself is the point of music. Music has functioned as a form of oral tradition since
the start of time, with words and melodies being passed down through
generations to preserve cultural values and beliefs. In regards to what Zipes
argues in his essay, I can understand why one would want to keep tradition sacred.
But music isn’t supposed to be static and linear, it’s evergrowing and changing
and beautiful. It’s meant to inspire a grand variety of audiences with underlying
themes intertwined through the lyrics. Maybe it is, in fact, truly a money
grab, but regardless of the intent, Disney music has sparked courage and hope
in the minds of millions of children, like me. I don’t think Disney films
become diluted, either, just different. Different doesn’t mean diluted or
second to, it just became something new. The stories and songs that Disney releases
give hope and a reason to work hard and believe you can make your dreams come
true. I think I lost that childlike hope and reason on a path that has since
grown over. But as I pick up my pen alongside my guitar, I feel a newfound
sense of self. The forest of doubt can only extend for so long.
Songs in fairytales serve to bridge the gap between the audience and a story’s moral
messages. They enrich the tale-telling experience by allowing us to step into
the shoes of the characters and relate their trials and struggles to our own. Words
will only connect with those willing to hear them. I am now 18 years old, a screenwriting
major living in a country I know so little about, but no longer trying to prove
myself worthy. I am no longer holding myself back for fear of objective judgment.
I am no longer writing out of anger and pain. I’m not perfect, nor will I ever
be, but I have the passion and desire to learn and create. I am a writer, an
artist, and a storyteller, and my story is just beginning.
~
Bibliography
Disney. Cinderella. Directed
by Clyde Geronimi, Walt Disney Productions, 1950.
Disney. The Little Mermaid.
Directed by Ron Clements and John Musker, Walt Disney Pictures, 1989.
Jones, Emily. From Grimm to
Grammy: The Influence of Fairytales on Popular Music. Journal of Popular
Music Studies, vol. 25, no. 2, 2020, pp. 45-67.
Smith, Michael. Once Upon a Tune:
Fairytales in Music. Oxford University Press, 2018.
Tatar, Maria. The Classic Fairy
Tales (Second Edition) (Norton Critical Editions) (p.12). W. W. Norton &
Company. Kindle Edition.
Zipes, Jack. Breaking the Disney
Spell. From Mouse to Mermaid: The Politics of Film, Gender, and Culture,
edited by Elizabeth Bell, Lynda Haas, and Laura Sells, Indiana University
Press, 1994, pp. 21-42.
