Low male voice repertoire in contemporary musical theatre: a studio and performance guide of selected songs 1996-2020 by

Musical Theatre Style 
Song Type/Feel 
Tempo 
Pop 
Story Song, Moving Ballad 
76 bpm 
Vocalism 
Breathy 
Speech-like 
Character 
Belt Legit 
Operatic 
Sources: Data adapted from Jason Robert Brown, “Hope,” track 1 on How We React and How We Recover, 
Ghostlight Records, 2018, Amazon Music streaming audio, 
https://music.amazon.com/albums/B07DVYHXKV?trackAsin=B07DW19G7T&ref=dm_sh_278d-9778-dmcp-
9b1a-a738d&musicTerritory=US&marketplaceId=ATVPDKIKX0DER; Jason Robert Brown, “Hope,” (Milwaukee, 
WI: Hal Leonard, 2006): 1-5. 
Context 
The composer wrote this song the day after the 2016 Presidential election in the United States, 
upon reflecting on how to explain to his daughter the result while searching for a way to communicate his 
own thoughts through song.
3
The piece’s lyrics reflect a current state of action, in this case composing by 
the performer, and show a present tense grappling of and evolving of emotions as the piece moves 
through various musical sections. As an artistic creation based upon a significant event in the nation’s 
history, this piece could be effectively programmed at a cabaret by someone who can connect personally 
to feelings associated with that time in history. 
Musical Content 
This piece is a pop ballad, whose lyrics indicate that the presentation and composition of the song 
are occurring the same time. The piece operates in a modified AABA form, with interludes and vocal 
3
Playbill, “Breaking Down ‘Hope’ From Jason Robert Brown’s New Album.” July 9, 2018, video, 1:04,
https://www.facebook.com/playbill/videos/10155640355790418. 

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interjections affecting the length of each section. Textual phrases are often only a measure or a measure 
and a half, light and steady piano texture, felt with a half-note pulse at the end of each verse.
Table 10.2. Compositional Sections of “Hope”