Relevant bibliographies by topics / Lin-Manuel Miranda

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Lin-Manuel Miranda'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Lin-Manuel Miranda.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Lin-Manuel Miranda"

1

Hillman-McCord, Jessica. "Lin-Manuel Miranda: Digital age diva." Studies in Musical Theatre 12, no. 1 (March 1, 2018): 109–22. http://dx.doi.org/10.1386/smt.12.1.109_1.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Herrera, Patricia. "Hamilton: An American Musical by Lin Manuel-Miranda." Theatre Journal 73, no. 1 (2021): 83–85. http://dx.doi.org/10.1353/tj.2021.0014.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Whall, Helen M. "Lin-Manuel Miranda and the metamyth of a nation’s founding." Studies in Musical Theatre 12, no. 2 (June 1, 2018): 241–49. http://dx.doi.org/10.1386/smt.12.2.241_1.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Feng, Yizhang, and Kexu Chen. "On the inspiration of Lin-Manur-Miranda musical Hamilton." International Journal of Education and Humanities 14, no. 1 (May 14, 2024): 152–54. http://dx.doi.org/10.54097/6dyf4743.

Full text
Abstract:
Lin-manuel-Miranda's musical "Hamilton" as the fastest in the history of Broadway music costs and began to profitable musical with its pioneer music style and the core values of drama structure in the world stage, the success of the Broadway musical is not only in the history, also for the development of world musical provides unprecedented possibilities.the success of Lin-Manuel Miranda's musical "Hamilton" has had a profound impact on the world of theater, particularly in the realm of musicals. Its pioneering music style and the core values of drama structure have opened up new possibilities for the development of musicals worldwide. The widespread appeal and profitability of "Hamilton" have inspired artists to experiment with different genres and storytelling techniques, pushing the boundaries of what is considered traditional musical theater. Furthermore, the global interest in historical and biographical musicals that "Hamilton" has generated has enriched the cultural landscape of musical theater, offering audiences a diverse range of stories and perspectives. Overall, "Hamilton" has left an indelible mark on the world stage, paving the way for future innovations in the field of musical theater.
APA, Harvard, Vancouver, ISO, and other styles
5

Higueras Rodríguez, Virginia E. "De Oklahoma! a Tick, Tick...Boom! La evolución del musical desde la Edad de Oro hasta las obras rock de Jonathan Larson." Latente Revista de Historia y Estética audiovisual 20 (2022): 237–55. http://dx.doi.org/10.25145/j.latente.2022.20.09.

Full text
Abstract:
Musical films do not evolve in parallel with the theatrical musicals on Broadway. It creates a gap of about a decade between the musicals on Broadway and those produced in Hollywood. In 2021 Lin-Manuel Miranda, director of the film Tick, Tick... Boom! revives Jonathan Larson, heir to the influences of the musicals of Richard Rodgers & Oscar Hammerstein II, and Stephen Sondheim
APA, Harvard, Vancouver, ISO, and other styles
6

Boffone, Trevor. "Whitewashed Usnavi: Race, power and representation in In the Heights." Studies in Musical Theatre 13, no. 3 (December 1, 2019): 235–50. http://dx.doi.org/10.1386/smt_00003_1.

Full text
Abstract:
This article focuses on questions of race, power and representation in regional productions of Lin-Manuel Miranda and Quiara Alegría Hudes’ 2008 Tony Award-winning musical In the Heights. While issues of representation in In the Heights did not begin in 2016, this article uses the Porchlight Music Theatre production as a point of departure to analyse how the musical became a contentious performance text in the post-Hamilton era. This study focuses on how theatre companies that have not traditionally produced Latinx stories have used In the Heights as an entry-point into the Latinx community and as a way to capitalize from the unprecedented success of Miranda’s Hamilton.
APA, Harvard, Vancouver, ISO, and other styles
7

Dia, Mamadou. "Migrants Video Study Immigrants (We Get the Job Done). By Lin Manuel Miranda." Migration Studies 7, no. 4 (February 5, 2018): 535–38. http://dx.doi.org/10.1093/migration/mnx071.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Brooks, Tiffany Yecke. "Staging a revolution: The cultural tipping points of John Gay and Lin-Manuel Miranda." Studies in Musical Theatre 12, no. 2 (June 1, 2018): 199–212. http://dx.doi.org/10.1386/smt.12.2.199_1.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Heidelberg, Brea M. "Hamilton, Lin-Manuel Miranda, The Public Theater, New York City, 20 January 2015." Global Hip Hop Studies 1, no. 2 (August 1, 2020): 336–41. http://dx.doi.org/10.1386/ghhs_00028_5.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Ana Crespo Roca, Ana. "Prince Hal and Hamilton: becoming a leader in Shakespeare’s Henriad and Lin-Manuel Miranda’s musical." Acotaciones. Revista de Investigación y Creación Teatral 1, no. 48 (June 27, 2022): 359–86. http://dx.doi.org/10.32621/acotaciones.2022.48.12.

Full text
Abstract:
The purpose of this article is to explore the similarities between the musical Hamilton and the Henriad. It shows how Miranda and Shakespeare use similar strategies to depict the evolution of characters that become leaders. Prince Hal and Hamilton have to combine political and martial abilities to attain power. Hal learns from his rival Hotspur to be braver in battle, while Hamilton learns from Burr to be more cautious. However, only Hal is successful in keeping himself in power by balancing both types of skills. Another parallelism shared by the plays is how they show the negative consequences of the actions of the leaders by incorporating the voices of other characters. A secondary objective of this piece of writing is to explore Shakespearean elements in contemporary pop culture. In that regard, this study contests the traditional negative view of pop culture that considers popular manifestations of Shakespeare as lesser versions of the originals.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Lin-Manuel Miranda"

1

McCool, Jason C. "Radical reclamations and musical resonances in Hamilton: an American Musical." Thesis, 2020. https://hdl.handle.net/2144/41172.

Full text
Abstract:
Responding to and provoked by an America colored by stark political division, tense racial conflict, and the powerful urban narrative of hip hop culture, Hamilton: An American Musical, created by composer/lyricist Lin-Manuel Miranda, became the subject of a cultural focus unprecedented in the reception history of an American work of art. Hamilton premièred at a critical time during the Obama presidency, and it squarely confronts the issues lying at the heart of our democracy. Hamilton caught the attention of millions of Americans with little prior interest in Broadway musicals, hip hop, or the performing arts in general, and it stimulated important and timely conversations about race, representation, and American identity. Hamilton asks pressing questions: Who speaks for America? How does the character and biographical narrative of this founding father suggest a new, updated conversation about American history? How do the political sensitivities of audiences determine the commercial and artistic success of a stage work? How does the rap genre operate in conveying Hamilton’s historical content in dramatic terms? How do representations of minorities in popular culture affect the wider perception of the sociopolitical order? To what degree is it possible for the historically-rooted genre of musical theater – often viewed as benign musical pablum for middle-class whites – to advance a public conversation about race and representation in the twenty-first-century? This dissertation first considers these questions through the historical lens of racial depiction in American musical theater, situating Hamilton within a lineage of commercially successful musicals that have used the Broadway stage subversively as a place to challenge the social and racial order. It documents Hamilton’s genesis and the collaborative process of adapting Ron Chernow’s acclaimed biography, then examines Hamilton’s music, its relationship to text and musico-historical resonances, and constructs a theory of Lin-Manuel Miranda’s hip hop-infused compositional style. Finally, it examines Hamilton’s reception, contemporary political dimensions, and essential ties to the administrations of Barack Obama and Donald Trump, exploring what are often contentious criticisms of the work within the academic and online worlds.
APA, Harvard, Vancouver, ISO, and other styles

Books on the topic "Lin-Manuel Miranda"

1

ill, Petersen Alyssa, ed. Lin-Manuel Miranda. New York: Simon Spotlight, 2018.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Nelson, Penelope S. Lin-Manuel Miranda. Capstone, 2018.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Nelson, Penelope S. Lin-Manuel Miranda. Capstone, 2018.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Lin-Manuel Miranda. Simon Spotlight, 2018.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Kawa, Katie. Lin-Manuel Miranda. Greenhaven Publishing LLC, 2020.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Nelson, Penelope S. Lin-Manuel Miranda. Capstone, 2020.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Gaston, Stephanie. Lin-Manuel Miranda. Crabtree Publishing Company, 2022.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Spanier, Kristine. Lin-Manuel Miranda. Jump! Incorporated, 2018.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Gaston, Stephanie. Lin-Manuel Miranda. Crabtree Publishing Company, 2022.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Calkhoven, Laurie. Lin-Manuel Miranda. Simon & Schuster Children's Publishing, 2018.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Lin-Manuel Miranda"

1

Balestrini, Nassim W. "Miranda, Lin-Manuel." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_12159-1.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Balestrini, Nassim W. "Miranda, Lin-Manuel: Hamilton." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_12160-1.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Hillman-McCord, Jessica. "Worshipping Lin-Manuel Miranda." In The Routledge Companion to the Contemporary Musical, 325–34. New York; London: Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781315543703-41.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Hernández, Paola S., and Analola Santana. "Lin-Manuel Miranda (New York City, 1980–)." In Fifty Key Figures in Latinx and Latin American Theatre, 121–24. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003144700-27.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Palfy, Cora S. "Cadential expectations and expressive agency in Lin-Manuel Miranda's “How Far I'll Go” (Moana)." In Musical Agency and the Social Listener, 111–23. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003169710-8.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Kenny, Alan Patrick, and Mary Jo Lodge. "Hamilton and the Liminal Director." In Dueling Grounds, 135–48. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190938840.003.0010.

Full text
Abstract:
This chapter explores how Thomas Kail, as director, has nurtured and developed Lin-Manuel Miranda’s work, while simultaneously serving as an interpreter, editor, dramaturg, and cheerleader, and, indeed, as a liminal space between Miranda as actor and Miranda as writer. While many of these functions are standard today for directors of new work, and typically date back for musicals to directing greats like Jerome Robbins, Kail fulfilled all of these functions with the added challenge of Miranda as star. This essay explores how both Miranda’s and Kail’s shared history, and Kail’s reliance on the same collaborators from show to show has fostered his successful interactions with Miranda. It also examines how Kail shaped the development of Hamilton, as Miranda was writing it, and how Kail’s collaborative style and focus on script analysis can provide a model for future directors of musicals in development, particularly when working with a writer-performer.
APA, Harvard, Vancouver, ISO, and other styles
7

"1. Lin-Manuel Miranda and the Future of Originalism." In Hamilton and the Law, 3–11. Cornell University Press, 2020. http://dx.doi.org/10.1515/9781501752230-003.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Herrmann, Rachel B. "Hamilton, History, Historiography." In Dueling Grounds, 103–16. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190938840.003.0008.

Full text
Abstract:
This chapter examines Lin-Manuel Miranda’s approach to history. Miranda aimed to explore how the Founders created legacies by leaving behind records for future historians, but he had little interest in the histories of people who left behind fewer written documents. Miranda’s method created Hamilton’s historiographical blind spots. In the musical, Alexander Hamilton refers to the “promised land” of the post-Revolutionary early American republic without acknowledging how his father-in-law, Philip Schuyler, managed to acquire so much territory from Native Americans. This chapter explores the combination of scorched earth warfare, diplomacy, and eventually treaties from the 1750s to the 1800s that allowed the Founders to redraw the nation’s terrestrial and riverine borders to make Native territory into U.S. territory. It calls attention to this history while establishing the musical’s liminal position between historical scholarship on the American Revolution, public interest in this history, and Miranda’s version of it.
APA, Harvard, Vancouver, ISO, and other styles
9

Keyes, Cheryl L. "Long Live Hip-Hop." In Dueling Grounds, 183–99. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190938840.003.0013.

Full text
Abstract:
Lin-Manuel Miranda’s Hamilton: An American Musical, a musical adaptation of Ron Chernow’s 2004 biography, advanced the marriage of hip-hop and the musical that Miranda had introduced in his earlier show In the Heights. Employing hip-hop aesthetics and performance in an unparalleled yet effective way, Hamilton’s libretto is rendered in a spoken-word style, adhering to a hip-hop sing-songy style of delivery and embodied by a multi-ethnic cast with swaggering bodies and hip-hop-style moves. This essay examines the hip-hop aesthetic qualities of Miranda’s Hamilton, situating the show as a part of the continuum of hip-hop music, culture, and performance practice, and the manner by which the musical draws from real life hip-hop personae as templates for character-building via the art of rap as a storytelling device. Such analysis proves that hip-hop has been recharged with a new life, meaning, and context on the American musical stage.
APA, Harvard, Vancouver, ISO, and other styles
10

Olguín, B. V. "{ Conclusion }." In Violentologies, 309–18. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198863090.003.0007.

Full text
Abstract:
The conclusion assesses the 2015 Broadway hit Hamilton: An American Musical by mixed-heritage (Puerto Rican, Mexican, black, and white) Lin-Manuel Miranda, which emerges as the quintessential violentological text and supra-Latina/o chronotope. This sui generis phenomenon models all the conceits and contradictions explicated throughout this book, while also consolidating the vexed and vexing Latina/o move from the margins to the center. My assessment of this spectacle as part of the ever-more discrepant Latina/o archive, which consists of widely diverging supra-Latina/o and even post-Latina/o violentologies, underscores the need for a paradigm shift in our understanding of the ontological and epistemological pasts, presents, and futures of Latina/o Studies.
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Lin-Manuel Miranda' for particular source types:
Journal articles Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography