Arthur Miller's Death of a Salesman is a deceptively simple work. The simplicity of the work, however, quickly dissolves into a respectful ambiguity through Miller's ingenious stage directions, non-verbal expressions and, above all, his musical design, from the opening notes to the final take, the audience is enormously drawn to that which Tennessee Williams called the "plastic theater" (Williams). 213). The use of musical expression complements the textual version of the work creating a more lucid production. Miller's willingness to open his theater to something more than just representation embodied in language allowed him to create a lyrical drama, something more. poetic theater through melodic themes. Musical motifs take on important roles in the production, roles that accentuate the conflicts that the Lomans articulate to the audience through language. They foreground, through metaphor, many of the work's deepest ambiguities. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay Miller's musical themes express the conflicting influences in Willy Loman's mind. Once established, themes simply need to be articulated to evoke certain times, emotions and values. The first sounds of the play, the "small and thin" notes of the flute, represent the grass, trees and horizon. These are the objects of Willy and Biff's desires that are significantly absent from the shadowed house on which the curtain rises. This melody continues when Willy makes his first appearance, although, as Miller tells us, he "hears but is not aware" (1165). Through this melodious music we are thus given the first sense of Willy's estrangement not only from nature itself but also from his own profound nature which confuses happiness with success. The flute music also contains important references to the past for Willy. Ben informs Willy that his father made flutes and sold them during the family's early wanderings (1185). As Ben enters his father's biography, new music is heard, which introduces an additional musical theme as the father is characterized by "a high and cheerful melody" (1184). The melody differs from the small and refined melody of the natural landscape (1165). This distinction is appropriate, since the father is a salesman as well as an explorer. The upbeat musical theme heard in reference to his name clashes with the tender music he is remembered for. This represents the conflicting values ​​he possessed and passed on to those around him, thus giving evidence of Willy's negative correlation between happiness and success. The father's melody shares a family resemblance to Ben's "idyllic" music (1182). This theme presents itself falsely, as it is associated with depressing and discouraging contexts. Ben's theme is first played after Willy expresses his weariness from the pursuit of success (1182). Then it is sensed again after Willy is fired in Act II. This time the music precedes Ben's entrance. He feels distant, then closer, just as Willy's suicidal thoughts, once repressed, now come closer with the loss of his job. When Ben's idyllic tune plays for the third and final time it is in "accents of terror" (1228), as Ben reinforces Willy's mistaken thoughts of suicide to help finance and support Biff and the family. This idea of ​​selling out refers to the abandonment represented by Willy's father as Willy doesn't remember much about him. The themes of his father and Ben contribute greatly to Willy's disillusionment with life. I am therefore in opposition to the small and delicate topicof nature that begins and concludes the work. The whistle motif elaborates this essential conflict. Most people imagine that whistling is an outdoor activity that accompanies work. A whistle in an office would be a distraction. Biff Loman loves to whistle, thus strengthening his connection with nature rather than the work environment.Happy tries to drown out Biff's real voice:Happy: ...Bob Harrison said you were great, and then go do some damn stupid thing like whistling whole sounds in the elevator like a comedian.Biff (vs. Happy): So what? Sometimes I like to whistle. Happy: You can't raise a kid with a responsible job who whistles in elevators! (60) Happy holds many of the same values ​​as his father, as he believes that success and acceptance are the roots of happiness. He tries to explain to Biff that to be successful, and therefore achieve happiness, he must not give up his desires. This corresponds to Willy's distancing himself from nature in order to achieve success. Later in Act 2 the whistling theme resonates again when Howard Wagner plays Willy a recording of himself whistling "Roll out the Barrel" just before Willy asks for an advance and a job in New York (1198). ). Willy's discomfort with the whistle-blowing tape recorder reiterates Willy's concept of estrangement and, more importantly, his blindness to the truth. The fact that Howard is a very prosperous man and is the person who whistles with the tape recorder disproves Willy and Happy's idea that whistling is frowned upon by the corporate authorities. In a way, Howard shows Willy that happiness isn't in success, but rather in connecting with nature and finding oneself. Willy's conflicting desires to work in sales and do independent outdoor work are complicated by another desire, a sexual one. desire, which is expressed through the "raw and sensual music" that accompanies the Woman's appearances on stage (1179, 1215). It is this music of sexual desire that creeps into the second act. We also hear just before Willy, reliving a past conversation, offers this ironic warning to Biff: "I just want to be careful around those girls, Biff, that's all. Don't do it." Don't make any promises. No promises of any kind" (1174). This raw theme of sexual desire contrasts with Linda Loman's musical motif. It is characterized by the maternal hum of a sweet lullaby. This comforting music becomes a "desperate but monotonous hum" at the end of the 'Act I (1195). Linda's monotonous hum, in turn, contrasts with the "grey and bright" music, the boys' theme, which opens Act II. This theme is associated with the "good times" (1195 ) that Willy reminisces with his children before his adultery is discovered. Like Willy's father's high-pitched, cheerful theme and Ben's idyllic melody, this bright, cheerful music is ultimately associated with the false dream of materialistic success. The boys' theme is first heard when Willy tells Ben that he and the boys will get rich in Brooklyn (1185). It plays again when Willy begs Ben, "How do we get back to all the good times?" final moments of life, Willy Loman is shown struggling with his furies, "sounds, faces, voices seem to swarm over him" (1229). Suddenly, however, the "low and loud" music comes in, representing the false dreams of all "low" men. This false melody ends Willy's struggle with his competing voices. It drowns out the other voices, increasing in intensity "almost to an unbearable scream" as Willy speeds away in his car. As the car drives away, the music stops with a frantic sound. The resounding music softens to become the soft pulse of a single cello representing, 1971.