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One of the few studies that cover both Broadway and Hollywood musicals, this book explores a majority of the most famous musicals over the past two centuries plus a select number of overlooked gems. Doubling as an introductory college and university text for musical, dance and theater majors and a guide for both musical connoisseurs and novices, the book includes YouTube references of nearly 1000 examples of dances and songs from musicals.
Following her distinguished earlier career as a concert pianist and later as a music theorist, Jeanne Bamberger conducted countless case studies analysing musical development and creativity within the classroom environment. 'Discovering the musical mind' draws together these classic studies, and offers the chance to revisit and reconsider some of the conclusions she drew at the time.
Summary: In a cozy little town surrounded by towering mountains and lush forests, there lived a curious young kid named Alex. One day, while exploring the dusty corners of their attic, Alex stumbled upon something truly extraordinary—a magical musical instrument, hidden away beneath old boxes and cobwebs. This wasn't just any instrument; it was unique, with the amazing ability to make drawings and stories come to life just by playing its enchanting melodies. As Alex began to play this mysterious instrument, they noticed something incredible. The music didn't just fill the room with beautiful sounds; it also brought their drawings to life! Imagine drawing a bird and then, as you play a tune, watching it flutter off the paper and around your room. That's exactly what happened to Alex. Each note played on the instrument was like a key, unlocking the door to a world where imagination became reality. This magical discovery marked the beginning of a series of adventures for Alex. With the magical instrument in hand, Alex embarked on a journey unlike any other. Along the way, Alex met new friends who were just as curious and adventurous. Together, they explored the depths of their imagination, facing challenges and solving problems with the help of the instrument's magical melodies. These adventures were more than just exciting escapades; they were also filled with valuable lessons. Alex and their friends learned about the importance of friendship, courage, and creativity. They discovered that, sometimes, the answer to a problem lies in looking at it from a different perspective or trying out a creative solution. But the most important lesson of all was about the magic within. Through the journey, Alex realized that the true magic didn't just come from the instrument. Instead, it was inside them all along. It was the magic of believing in oneself, the power of imagination, and the strength that comes from the heart. This story of Alex and the magical musical instrument teaches us that within each of us lies the potential to create wonder, to face challenges with courage, and to discover the magic that resides within our own hearts. It's a reminder that, sometimes, the greatest adventures and the most powerful magic are found not in the world around us, but within ourselves. Chapter 1: Little Alex was from Harmony, a great, quiet neighborhood, and he was always excited to try new things. Alex found something interesting one day while playing in their attic, which is full of old things and lost treasures. A dirty old musical instrument was hidden behind some old boxes. There is something about this instrument. It looked like the threads caught the last of the sun's rays and sparkled and shone in the dim attic light. It was so clear and different that Alex couldn't help but be drawn to it, like it was calling them. Alex was shocked and concentrated hard on his guitar. It looked strange and almost magical when they touched it. Alex started to play the strings because he couldn't play the instrument. When the first note was played, a spectacular event began. There seemed to be life in the space around them as the song spread color and light all over. No one in Harmony had ever heard that music before. It was the first time Alex had heard sounds that sparkled and moved. It was so beautiful, it sounded like angels singing. The pure and sweet music from the heart shocked and calmed everyone. Alex knew this wasn't a normal garage gift as the music went on. You're drawn in by this instrument's beautiful sound. Alex thought that the beauty of the music went beyond the everyday and took him to a world of fun and adventure he had never been to before. The instrument looked like it was full of harmony and was hiding secrets and riddles that were just waiting to be found. It reflected the peace and beauty of the town. Because of this, Alex's life changed in a way that was full of magic, excitement, and the power of music. We learned that the most amazing things can happen in places we least expect them to. Alex saw the old, dusty instrument in the attic as the key to a world where magic and truth lived together, and dreams come true. Alex knew right then that the great instrument they had just bought would change their lives forever. It offered adventures that were as beautiful and endless as the music it played. Chapter 2: When Alex found the magical instrument in the attic, he became even more interested. They were amazed by how well the instrument could play and all the cool things it could do. To deal with this important issue, Alex decided to do a simple test. With a pencil, they drew a simple butterfly form on some paper. The butterfly on the paper looked calm, and its wings were spread out like it was looking forward to something great. When Alex picked up the guitar again, he was both excited and nervous. What would happen if they played a tune? Will the picture stay just a sketch, or will something interesting happen?
This book is an important contribution to the philosophy of music. Bruce Benson's concern is the phenomenology of music making as an activity. He offers a radical thesis that it is improvisation that is primary in the moment of music making.It will be a provocative read.
What is musical ontology? Why should we as philosophers address it, if ever? These questions constitute the Ariadne’s thread running throughout this whole work. The number of papers, volumes and essays that have recently been dedicated to the topic of art and musical ontology is so vast that trying to get a grip on the debate seems like trying to find ones bearings without a compass. This book is a guide to help hapless readers find their way through this philosophical jungle. It is constructed on three levels: the presentation of the debate on musical ontology, a meta-ontological inquiry and a sort of meta-meta-ontological overview, in which both the ontological and the meta-ontological are examined. It does not contain any apology for musical ontology, nor any attempt to definitively get it off the hook. The approach is aporetic, in the spirit of an open investigation in which more questions than answers are posited. But this is the whole point. If this study manages to provide the readers with the necessary theoretical tools to answer these questions for themselves, it could be considered a success.
Actors and singers use different training and distinctive vocabularies to hone their skills. Chris Will’s accessible handbook bridges the gap between the two, helping singing actors integrate theater and music into successful performances. Will covers all the essential skills you need to succeed in musical theater. How to Succeed in Musical Theater starts with discussions of how to merge theater and music before moving into the specific challenges facing the musical theater song. Copious exercises are spread throughout the book to strengthen learning through doing. Whether you're a seasoned performer or just starting out, this little book will be a constant companion on the road to success in musical theater.
How human musical experience emerges from the audition of organized tones is a riddle of long standing. In The Musical Representation, Charles Nussbaum offers a philosophical naturalist's solution. Nussbaum founds his naturalistic theory of musical representation on the collusion between the physics of sound and the organization of the human mind-brain. He argues that important varieties of experience afforded by Western tonal art music since 1650 arise through the feeling of tone, the sense of movement in musical space, cognition, emotional arousal, and the engagement, by way of specific emotional responses, of deeply rooted human ideals. Construing the art music of the modern West as representational, as a symbolic system that carries extramusical content, Nussbaum attempts to make normative principles of musical representation explicit and bring them into reflective equilibrium with the intuitions of competent listeners. Nussbaum identifies three modes of musical representation, describes the basis of extramusical meaning, and analyzes musical works as created historical entities (performances of which are tokens or replicas). In addition, he explains how music gives rise to emotions and evokes states of mind that are religious in character. Nussbaum's argument proceeds from biology, psychology, and philosophy to music--and occasionally from music back to biology, psychology, and philosophy. The human mind-brain, writes Nussbaum, is a living record of its evolutionary history; relatively recent cognitive acquisitions derive from older representational functions of which we are hardly aware. Consideration of musical art can help bring to light the more ancient cognitive functions that underlie modern human cognition. The biology, psychology, and philosophy of musical representation, he argues, have something to tell us about what we are, based on what we have been.
What does a musical theatre choreographer actually do? They just 'make up the steps', right? This book firstly debunks the misunderstandings around what musical theatre choreographers actually do, demonstrating their need to have an in-depth understanding of storytelling, music theory, performance practices and plot structure in order to create movement that enhances and enlivens the musical. Secondly, it equips the musical theatre choreographer with all the tools needed to create nuanced, informed and inspired movement for productions, through structured activities that build specific skills (such as 'notating the script' and 'scoring the score'). Traditionally, this training has been something of a series of secrets, passed from mentor to apprentice. The author demystifies the process to make the previously undisclosed “tricks of the trade” accessible to all choreographers, everywhere. Covering the entire process of choreographing a musical from the first script reading to the final curtain call, this book makes case for the absolute integrity of the choreographer to any musical theatre production and sets out the theoretical principles of choreography alongside the practical application during every step of the production process.