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Books on the topic 'Cabarés musicais'

Author: Grafiati
Published: 4 June 2021
Last updated: 6 February 2022

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1

Kander, John. Cabaret. [England]: Jay, 1997.

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2

Mills, Peter. The taxi cabaret. New York: S. French, 2004.

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3

Cabaret. Montclair, NJ: Limelight Editions, 2011.

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4

Fish, M. Cabaret Voltaire: Theart of the sixth sense. 2nd ed. Harrow: SAF, 1989.

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5

D, Hallberg, ed. Cabaret Voltaire: The art of the sixth sense. 2nd ed. Harrow: SAF, 1989.

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6

Fish, M. Cabaret Voltaire: The art of the sixth sense : M. Fish and D. Hallbery. Harrow: Serious Art Forms, 1985.

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7

Jazz and the cabaret laws in New York City. New York: Routledge, 1991.

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8

Chevigny, Paul. Gigs: Jazz and the cabaret laws in New York City. New York: Routledge, 1991.

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9

Chevigny, Paul. Gigs: Jazz and the cabaret laws in New York City. 2nd ed. London: Routledge, 2005.

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10

Ruiz, Juan José Montijano. Madrid frívolo: Breve historia de la revista musical madrileña y los teatros que la albergaron. Madrid: La Librería, 2013.

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11

The last Edwardian jester: Mr Harry Dale and his musical family. Edinburgh: C. Dale, 2010.

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12

Les cafés-concerts: Histoire d'un divertissement, 1849-1914. Paris: Quai Voltaire, 1992.

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13

Making Americans: Jews and the Broadway musical. Cambridge, Mass: Harvard University Press, 2004.

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14

La Revista: Historia del género cómico-lírico en España. [Sevilla]: Guadalturia, 2010.

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15

Sánchez, Ramón Femenía. La revista: Apuntes sobre la historia del género frívolo. Madrid: [Avispa?], 1997.

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16

Verbannt, Verbrannt, Vergessen und Verkannt: Kurzbiographien zum Thema Verfolgung und Vertreibung österreichischer Kabarett- und Kleinbühnenkünstler, 1933-1945. Graz: Österreichisches Kabarettarchiv, 2012.

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17

Rock 'n' roll road trip: The ultimate guide to the sites, the shrines, and the legends across America. New York: Pharos Books, 1992.

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18

Schmitt, Laurent. Musiques de vaudevilles & mélodrames: Conservées à la Bibliothèque Municipale de Lille. Lille: Domaine Musiques Région Nord - Pas-de-Calais, 2000.

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19

Antunes, Delson. Fora do sério: Um panorama do teatro de revista no Brasil. Rio de Janeiro: FUNARTE, Ministêrio da Cultura, 2004.

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20

Antunes, Delson. Fora do sério: Um panorama de teatro de revista no Brasil. Rio de Janeiro: FUNARTE, Ministêrio da Cultura, 2002.

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21

CBGB's: Thirty years from the home of underground rock. New York, NY: Harry N. Abrams, Inc., Publishers, 2005.

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22

Killer show: The Station nightclub fire, America's deadliest rock concert. Hanover: University Press of New England, 2012.

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23

Garebian, Keith. "Cabaret" (Great Broadway Musicals). Reynolds & Hearn Ltd, 2003.

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24

Fish, M., D. Hallbery, and Hallbury. "Cabaret Voltaire". SAF Publishing Ltd, 1985.

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25

Cabaret: The Illustrated Book and Lyrics. Newmarket Press, 1999.

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26

Hal Leonard Publishing Corporation (COR). Cabaret Songbook. Hal Leonard Corporation, 1991.

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27

The Making of Cabaret (The Great Broadway Musicals). Mosaic Press (NY), 1999.

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28

Gentry, Philip M. What Will I Be. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190299590.001.0001.

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In the wake of World War II, the cultural life of the United States underwent a massive transformation. Central to the era was the rise of the concept of identity, and with it a reformulation of the country’s political life during the early Cold War. At the same time, a revolution in music was taking place, a tumult of new musical styles and institutions that would lead to everything from the birth of rock and roll to the new downtown experimental music. Together, these two trends came to define the era: a search for new social affinities and modes of self-fashioning, with music providing just the right tool for doing so. What Will I Be: American Music and Cold War Identity follows the development of the concept of identity as it emerged alongside the development of new post-war music making. It travels through four very different musical scenes: early doo-wop pioneers the Orioles, the early film musicals of Doris Day, Asian American cabaret in San Francisco, and John Cage’s infamous silent piece. Close analyses of small moments in the lives of musicians, composers, critics, and fans look at how individuals negotiated the larger social forces sweeping the country, laying the groundwork for many of today’s political and musical narratives.
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29

Nawrocki, Norman. The Anarchist & the Devil Do Cabaret. Black Rose Books, 2002.

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30

Nawrocki, Norman. The Anarchist & the Devil Do Cabaret. Black Rose Books, 2003.

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31

Cabaret Berlin: Revue, Kabarett And Film Music Between The Wars. edel CLASSICS GmbH, 2005.

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32

Kander, John. The Complete Cabaret Collection: Vocal Selections - Souvenir Edition. Hal Leonard Corporation, 1999.

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33

Laurence, Senelick, ed. Cabaret performance: Sketches, songs, monologues, memoirs. New York: PAJ Publications, 1989.

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34

Woodfield, Ian. Cabals and Satires. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190692636.001.0001.

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This is a study of the political context in which Mozart wrote his three Italian comedies, Figaro, Don Giovanni, and Così fan tutte. Joseph II’s decision to place his opera buffa troupe in competition with the re-formed Singspiel provoked a struggle between supporters of the rival national genres. Cabals soon became active, organizing claques to cheer or hiss as required, and encouraging press correspondents to circulate slanted notices. In the spring of 1786, Mozart was caught up in the infighting. Figaro, the flagship work for the Italian troupe, received a mixed reception, whereas Dittersdorf’s Der Apotheker for the German party scored a triumph. In this fraught atmosphere, satire flourished. A rival setting of Die Hochzeit des Figaro by Dittersdorf, the music for which is lost, lampooned Mozart in the guise of Cherubino, focusing on his obsession with dancing. The intertroupe contest came to an abrupt end at the start of 1788, when the deteriorating international situation for the Austrian Monarchy necessitated cutbacks in expenditure, including the closure of the Singspiel. During the ensuing years of the Austro-Turkish War, Mozart successfully negotiated the unpredictable twists and turns of theater politics. The revival of Figaro in 1789, now as a Habsburg festive work following its gala performance in Prague, sealed his reputation. He was ideally placed to accept a commission from the commercial stage, the revitalization of which was the most lasting musical consequence of the war years.
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35

Winkler, Kevin. Willkommen. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199336791.003.0007.

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This chapter describes the international success of Bob Fosse’s film version of Cabaret in 1972, which kicked off the busiest, most productive decade of his career. The mood of the decade was reflected in both his life and his work. Fosse’s film jettisoned most of Cabaret’s score for numbers performed only onstage, thus refining the show’s use of performance to comment on dramatic reality. The hyperactive camerawork he was criticized for in Sweet Charity was refined and focused. Cabaret found parallels between the chaos and national crisis of identity in pre-Nazi Germany and contemporary anxieties over the continuing Vietnam War. Liza with a Z, starring Liza Minnelli and filmed by multiple cameras before a live audience in a Broadway theater, brought the kinetic energy of a live performance to this musical concert for television.
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36

Vaudeville Melodies: Popular Musicians and Mass Entertainment in American Culture, 1870-1929. University of Chicago Press, 2017.

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37

Gebhardt, Nicholas. Vaudeville Melodies: Popular Musicians and Mass Entertainment in American Culture, 1870-1929. University of Chicago Press, 2017.

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38

Mayes, Sean, and Sarah K. Whitfield. An Inconvenient Black History of British Musical Theatre. Bloomsbury Publishing Plc, 2021. http://dx.doi.org/10.5040/9781350119666.

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A radically urgent intervention, An Inconvenient Black History of British Musical Theatre: 1900 - 1950 uncovers the hidden Black history of this most influential of artforms. Drawing on lost archive material and digitised newspapers from the turn of the century onwards, this exciting story has been re-traced and restored to its rightful place. A vital and significant part of British cultural history between 1900 and 1950, Black performance practice was fundamental to resisting and challenging racism in the UK. Join Mayes (a Broadway- and Toronto-based Music Director) and Whitfield (a musical theatre historian and researcher) as they take readers on a journey through a historically-inconvenient and brilliant reality that has long been overlooked. Get to know the Black theatre community in London’s Roaring 20s, and hear about the secret Florence Mills memorial concert they held in 1928. Acquaint yourself with Buddy Bradley, Black tap and ballet choreographer, who reshaped dance in British musicals - often to be found at Noël Coward’s apartment for late-night rehearsals, such was Bradley’s importance. Meet Jack Johnson, the first African American Heavyweight Boxing Champion, who toured Britain’s theatres during World War 1 and brought the sounds of Chicago to places like war-weary Dundee. Discover the most prolific Black theatre practitioner you’ve never heard of, William Garland, who worked for 40 years across multiple continents and championed Black British performers. Marvel at performers like cabaret star Mabel Mercer, born in Stafford in 1900, who sang and conducted theatre orchestras across the UK, as well as Black Birmingham comedian Eddie Emerson, who was Garland’s partner for decades. Many of their names and works have never been included in histories of the British musical - until now.
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39

Pollack, Howard. The Boy Wonder of Broadway. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190458294.003.0003.

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After dropping out of Columbia, Latouche attempted to make his career on Broadway. One very early effort included contributions to the satire The Murder in the Old Red Barn. He also worked for a while as a press agent for the Ballet Russes de Monte Carlo. His work on Erika Mann’s Pepper Mill, which included adapting German texts and appearing on stage, marked his growing involvement with the refugee community. His transgressive cabaret songs established a following, but his first big break came with interpolations in the labor musical Pins and Needles.
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40

Gigs: Jazz and the Cabaret Laws in New York City. Taylor & Francis Group, 2012.

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41

Greensill, Mike. Playing for singers: The Mike Greensill method : art of accompaniment for the jazz or cabaret piano player. 2013.

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42

Bauman, Thomas. The New Pekin. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038365.003.0003.

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This chapter focuses on Robert T. Motts's conversion of the Pekin Theater to New Pekin after it was damaged by fire in January 1910. At the time of the fire the Pekin Temple of Music had already established itself as “a credit to the Negro race.” Motts saw rebuilding not only as necessary to “get under way again” but also as an opportunity to aim for something even higher. There were no more comparisons of the Pekin with beer gardens, cabarets, or cafés chantants, but rather with the best legitimate theaters that Chicago had to offer. At the New Pekin, Motts himself took over Will H. Smith's duties as general manager. Opening night on March 31 was a success. This chapter examines how the Pekin became a favored venue for black minstrelsy and considers the Pekin Stock Company's musical comedies, including Captain Rufus, a musical military play by J. Ed. Green and Alfred Anderson; it was also performed in New York City in August 1907.
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43

Donahue, Matthew A. I'll Take You There: An Oral and Photographic History of the Hines Farm Blues Club. Jive Bomb Press, 1999.

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44

Chevigny, Paul. Gigs: Jazz and the Cabaret Laws in New York City (After the Law). Routledge, 1991.

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45

Most, Andrea. Making Americans: Jews and the Broadway Musical. Harvard University Press, 2004.

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46

Jean-Maximillien De La Croix de Lafayette. Living Legends and Ultimate Singers, Musicians and Entertainers: Volume II (H-Z) of World Who's Who in Jazz, Cabaret, Music and Entertainment. iUniverse, Inc., 2007.

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47

Abbott, Helen. Maurice Rollinat. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198794691.003.0004.

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Poet, musician, and Chat noir cabaret artist Maurice Rollinat set Baudelaire to music a number of times during the 1880s. This chapter analyses two key sets of songs published in 1892: Six Poésies de Baudelaire and Six Nouvelles Poésies de Baudelaire. The analysis covers: (a) the context of composition; (b) the connections established between selected poems; (c) the statistical data generated from the adhesion strength tests; and (d) how the data shapes an evaluation of Rollinat’s settings of Baudelaire. The chapter concludes by suggesting that the settings are neither particularly disruptive nor especially cohesive (adhesion strength: loosely intermingled). A relatively high proportion of unexpected accentual stresses in the poetic line is mitigated by regular phrase lengths and breathing spaces. Rollinat’s settings demand a free approach to interpreting the printed score to achieve an accretive song; if the score is followed to the letter, it may create a dilutive song.
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48

Jean-Maximillien De La Croix de Lafayette. Showbiz, Pioneers, Best Singers, Entertainers and Musicians from 1606 to the Present. Volume IV of World Who's Who in Jazz Cabaret Music and Entertainment. Federation of American Musicians singers and performing arts. Times Square Press, 2000.

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49

Jean-Maximillien De La Croix de Lafayette. SHOWBIZ, PIONEERS, BEST SINGERS, MUSICIANS AND ENTERTAINERS FROM 1606 TO THE PRESENT: Vol. IV of World Who's Who in Jazz Cabaret Music and Entertainment. Federation of American Musicians Singers and Performing Artists (FAMSPA). And Times Square Press, 2007.

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50

Museo Nacional de Culturas Populares (Mexico), ed. El País de las Tandas: Teatro de revista, 1900-1940. 2nd ed. Coyoacán [México]: Museo Nacional de Culturas Populares, Dirección General de Culturas Populares, 1986.

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