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Musical Theatre: A History is a new revised edition of a proven core text for college and secondary school students – and an insightful and accessible celebration of twenty-five centuries of great theatrical entertainment. As an educator with extensive experience in professional theatre production, author John Kenrick approaches the subject with a unique appreciation of musicals as both an art form and a business. Using anecdotes, biographical profiles, clear definitions, sample scenes and select illustrations, Kenrick focuses on landmark musicals, and on the extraordinary talents and business innovators who have helped musical theatre evolve from its roots in the dramas of ancient Athens all the way to the latest hits on Broadway and London's West End. Key improvements to the second edition: · A new foreword by Oscar Hammerstein III, a critically acclaimed historian and member of a family with deep ties to the musical theatre, is included · The 28 chapters are reformatted for the typical 14 week, 28 session academic course, as well as for a two semester, once-weekly format, making it easy for educators to plan a syllabus and reading assignments. · To make the book more interactive, each chapter includes suggested listening and reading lists, designed to help readers step beyond the printed page to experience great musicals and performers for themselves. A comprehensive guide to musical theatre as an international phenomenon, Musical Theatre: A History is an ideal textbook for university and secondary school students.
(Applause Books). This revised and expanded edition of Kislan's acclaimed study of America's musical theater includes a new section on "Recent Musical Theater: Issues and Problems." "The ancient union of drama and song, known as musical theater, comes in many forms vaudeville, burlesque, comic opera, minstrels, etc. The author reviews these and other highlights of American musicals ... with a fascinating background on the elements that contribute to the success of a Showboat ." King Features * "Worth study by anyone who still thinks that the musical is a collection of songs." The Stage
Written by a distinguished musicologist, this comprehensive history of musical instruments traces their evolution from prehistoric times in a fusion of music, anthropology, and fine arts. Includes 24 plates and 167 illustrations.
"Strike Up the Band focuses not only on what happened on stage but also on how it happened and why it matters to us today. It's a different kind of history that explores the famous and, especially, the not-so famous productions to discover the lineage that paved the way to contemporary musicals. Digging into 150 shows, Miller offers a forward-looking perspective on treasures from each era--such as Anything Goes, West Side Story, Hair, and Rent--while also looking at fascinating, genre-busting, and often short-lived productions, including Bat Boy, Rocky Horror Show, Promenade, and The Capeman, to see how even obscure or commercially unsuccessful musicals defined and advanced the form. Moving decade by decade, Miller offers insight and inside information about the artistic approaches various composers, lyricists, bookwriters, and directors have taken, how those approaches have changed over time, and what social and historical forces continue to shape musical theatre today. He provides a strong sense of what groups have historically controlled the industry and how other groups' hard work and vision continue to change the musical theatre landscape for the better. In fact, Strike Up the Band opens a new and vitally important discussion of the roles played in the musical's history by people of color, by gays and lesbians, by people with disabilities, and by women. It frames musical theatre as an important, irreplaceable piece of American history and demonstrates how it reflects the social and political conditions of its time--and how it changes them." -- Publisher's description.
(Applause Books). A companion to the six-part PBS documentary series, Broadway: The American Musical is the first comprehensive history of the musical, from its roots at the turn of the 20th century through the smashing successes of the new millennium. The in-depth text is lavishly illustrated with a treasure trove of photographs, sheet-music covers, posters, scenic renderings, production stills, rehearsal shots and caricatures, many previously unpublished. Revised and updated, with a brand-new foreword by Julie Andrews and new material on all the Broadway musicals through the 2009-2010 season.
The American musical is a paradox. On stage or screen, musicals at once hold a dominant and a contested place in the worlds of entertainment, art, and scholarship. Born from a mélange of performance forms that included opera and operetta, vaudeville and burlesque, minstrelsy and jazz, musicals have always sought to amuse more than instruct, and to make money more than make political change. In spite of their unapologetic commercialism, though, musicals have achieved supreme artistry and have influenced culture as much as if not more than any other art form in America, including avant-garde and high art on the one hand, and the full range of popular and commercial art on the other. Reflecting, refracting, and shaping U.S. culture since the early twentieth century, musicals converse with shifting dynamics of gender and sexuality, ethnicity and race, and the very question of what it means to be American and to be human. The chapters gathered in this book, Volume I of the reissued Oxford Handbook, explore the American musical from both the outside and the inside. This first volume concentrates in particular on large-scale, more philosophical issues of relevance to the genre, considering issues of historical situations and formal procedure as they bear on the narratives we make concerning productions and performers, artists and audiences, commerce and context. The first four essays discuss ways of defining histories and texts, and apprehending the formal choices of singers and dancers; the second group of four take up the subtle challenges of the genre's signal transformations out of minstrelsy and Tin Pan Alley to "integration" and beyond.
Bringing together scholars from the fields of musicology and international history, this book investigates the significance of music to foreign relations, and how it affected the interaction of nations since the late 19th century. For more than a century, both state and non-state actors have sought to employ sound and harmony to influence allies and enemies, resolve conflicts, and export their own culture around the world. This book asks how we can understand music as an instrument of power and influence, and how the cultural encounters fostered by music changes our ideas about international history.
When asked to describe what music means to them, most people talk about its power to express or elicit emotions. As a melody can produce a tear, tingle the spine, or energize athletes, music has a deep impact on how we experience and encounter the world. Because of the elusiveness of these musical emotions, however, little has been written about how music creates emotions and how musical emotion has changed its meaning for listeners across the last millennium. In this sweeping landmark study, author Michael Spitzer provides the first history of musical emotion in the Western world, from Gregorian chant to Beyoncé. Combining intellectual history, music studies, philosophy, and cognitive psychology, A History of Emotion in Western Music introduces current approaches to the study of emotion and formulates an original theory of how musical emotion works. Diverging from psychological approaches that center listeners' self-reports or artificial experiments, Spitzer argues that musical emotions can be uncovered in the techniques and materials of composers and performers. Together with its extensive chronicle of the historical evolution of musical style and emotion, this book offers a rich union of theory and history.
How do we explain the globalized musical world in which we find ourselves in the early 21st century and how did we arrive here? This extraordinary book outlines an understanding of the human musical story as an intercultural—and ultimately a transcultural—one, with travel and trade as the primary conditions and catalysts for the ongoing development of musical styles. Starting with the cultural and civilizational precedents that gave rise to the first global trading and travel network in both directions across the Afro-Eurasian Old World Web in the form of the Silk Road, the book proceeds to the rise of al-Andalus and its influence on Europe through the Iberian peninsula before considering the fusion of European, African and indigenous musics that emerged in the Americas between c1500-1920 as part of Atlantic culture and the New World Web, as well as the concurrent acceleration of globalism in music through European empires and exoticism. The book concludes by examining the musical implications of our current Age of Instantaneous Exchange that technology permits, and by revisiting the question of interculturality and transculurality in music.
This book argues for the relevance, appropriateness, and usefulness of historical materialism to the musicological project. It interrogates the history of encounters between Marxism and music studies — both within and without the Soviet sphere — before staging the missed encounter between classical musicology and Second International Marxism. It concludes with a framework for understanding style history in terms of changes in the forces and relations of musical production.