Relevant bibliographies by topics / Musical comedy

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Musical comedy'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 April 2022

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Journal articles on the topic "Musical comedy"

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Greenspan, Charlotte. "Death Comes to the Broadway Musical." Daedalus 141, no. 1 (January 2012): 154–59. http://dx.doi.org/10.1162/daed_a_00137.

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The Broadway musical is an excellent prism for viewing the narrative of American life – as it is, has been, and perhaps should be. In the first part of the twentieth century, musicals viewed life through rose-colored glasses; musicals were equivalent to musical comedy. Starting in the 1940s, the mood of musicals darkened. One indication of the new, serious tone was that characters in musicals died in the course of the show. This essay examines several questions relating to death in the Broadway musical, such as who dies, when in the course of the drama the death occurs, and how the death is marked musically. It concludes with a look at musicals involving the deaths of historical characters and at AIDS-related musicals, works whose assumptions and ideals are very far from those of the musical comedies of the early twentieth century.
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Hornby, Richard. "Death of a Musical Comedy." Hudson Review 45, no. 1 (1992): 109. http://dx.doi.org/10.2307/3852105.

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Simpson, Dave. "Picks, Shovels and Musical Comedy." Ecological Restoration 15, no. 2 (1997): 179–82. http://dx.doi.org/10.3368/er.15.2.179.

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조만수. "Dramatic and Musical Composition in the Musical Comedy Les Misérables." Cross-Cultural Studies 44, no. ll (September 2016): 315–42. http://dx.doi.org/10.21049/ccs.2016.44..315.

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KUPFER, PETER. "‘Our Soviet Americanism’:Jolly Fellows, Music, and Early Soviet Cultural Ideology." Twentieth-Century Music 13, no. 2 (July 22, 2016): 201–32. http://dx.doi.org/10.1017/s1478572216000049.

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AbstractThe musical comedy film was perhaps a surprising genre to appear and flourish in the Soviet Union during the 1930s, a decade traditionally associated with the grimmer realities of Stalin's ruthless consolidation of power, show trials, and purges. Despite (and in many ways because of) this, the musical comedy became quite popular, with audiences and officials alike. Its creation did not, however, proceed without controversy or difficulty. In this article, I examine how director Grigory Aleksandrov and composer Isaak Dunayevsky drew on well-known and well-liked American musical and cinematic models to construct the first Soviet musical comedy film,Jolly Fellows(1934), and the role of music in the controversy that the film sparked. I argue that in choosing musical content appropriate for contemporary Soviet viewers and transmitting it by using American-inspired formal structures that rely on music, Aleksandrov and Dunayevsky created a powerful hybrid that spoke convincingly to audiences and critics, who ultimately used the film and its music as a means for debating issues of cultural significance.
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Garber, Michael G. "Tragicomedy, Melodrama, and Genre in Early Sound Films: The Case of Two “Sad Clown” Musicals." CINEJ Cinema Journal 5, no. 2 (October 11, 2016): 53–86. http://dx.doi.org/10.5195/cinej.2016.135.

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This interdisciplinary study applies the theatrical theories of stage genres to examples of the early sound cinema, the 1930 Hollywood musicals Puttin’ on the Ritz (starring Harry Richman, and with songs by Irving Berlin) and Free and Easy (starring Buster Keaton). The discussion focuses on the phenomenon of the sad clown as a symbol of tragicomedy. Springing from Rick Altman’s delineation of the “sad clown” sub-subgenre of the show musical subgenre, outlined in The American Film Musical, this article shows that, in these seminal movie musicals, naïve melodrama and “gag” comedy coexist with the tonalities, structures, philosophy, and images of the sophisticated genre of tragicomedy, including by incorporating the grotesque into the mise en scene of their musical production numbers.
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Hornby, Richard. "The Decline of the American Musical Comedy." Hudson Review 41, no. 1 (1988): 182. http://dx.doi.org/10.2307/3850853.

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AUSTERN, LINDA PHYLLIS. "MUSICAL PARODY IN THE JACOBEAN CITY COMEDY." Music and Letters 66, no. 4 (1985): 355–66. http://dx.doi.org/10.1093/ml/66.4.355.

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Graves, James B. "The American Musical Comedy: A Theoretical Discussion." Journal of Popular Culture 19, no. 4 (March 1986): 17–26. http://dx.doi.org/10.1111/j.0022-3840.1986.1904_17.x.

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Tsuji, Sahoko. "‘Salute to Radio’: The self-reflexive artistry of Betty Comden and Adolph Green in Fun with the Revuers." Studies in Musical Theatre 14, no. 2 (July 1, 2020): 149–61. http://dx.doi.org/10.1386/smt_00029_1.

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Betty Comden and Adolph Green are well-known librettists and lyricists of stage musicals and musical films; their artistic style and verbal expression are considered to bear urban witness to a period understanding of the 1940s and 1950s. Nonetheless, previous studies have scarcely investigated the aesthetic features of their dramaturgy, especially with regard to linguistic expression. This article focuses on the radio comedy Fun with the Revuers, for which they wrote scripts and lyrics. Through a close look at the scripts and sound recordings, it analyses the ‘interruptive sound and voice’ functions that construct the show, and examines how these satirize the conventions of the format, as well as the essential features of the medium. This article will offer a new perspective on the generational dynamics of Comden and Green’s artistry.
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Dissertations / Theses on the topic "Musical comedy"

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Moran, Patrick. "A 16 BAR CUT:THE HISTORY OF AMERICAN MUSICAL THEATREAN ORIGINAL SCRIPT AND MONOGRAPH DOCUMENT." Master's thesis, University of Central Florida, 2006. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2294.

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A final thesis for my Master of Fine Arts degree should encompass every aspect of the past few years spent in the class room. Therefore, as a perfect capstone to my degree, I have decided to conceive, write, and perform a new musical with my classmate Rockford Sansom entitled The History of Musical Theatre: A 16 Bar Cut. The History of Musical Theatre: A 16 Bar Cut will be a two-man musical that will capsulate all of musical theatre history in a single evening. Starting with the Greeks and finishing in the present, the show will comedically inform the audience, while paying homage to, the astonishing art form called musical theatre, using several outrageous conventions such as a game show, spoof, mimicry, and most importantly, drag. The show will also pose the question to everyone: with all the great literature already created, where is musical theatre headed, and who is going to bring us there? Writing A 16 Bar Cut will test the training I have received and my mastery of musical theatre as an art form. The show will demonstrate my understanding and passion for several components used by authors and actors alike to create a musical. Being that the show is a capsulation of all musical theatre, A 16 Bar Cut will show my true mastery of the history and literature of musical theatre. I will be forced to hone my skills of the collaborative process at a new level, as never having to truly execute them with such intensity before. The challenges that lay ahead will be seen not only in the performance aspect, but also in the creation of A 16 Bar Cut. Since musical theatre has an immense range in genre and style, the ability to technically master these styles and genres will prove to challenge me as a performer, as well as a writer. In the performance, there will be three main challenges: vocal qualities, dance techniques, and my acting craft. The vocal styles used in A 16 Bar Cut will test my capabilities as a singer to meet the demands needed to convey the original material used as it was initially intended. As a dancer, the specific movements and "signatures" of the many choreographers will challenge me to understand and be able to re-create these "specifics" for an audience. The character building will test me as an actor, starting with one through-lined character--a heightened half-brained juvenile form of myself--along with building approximately fifty auxiliary characters throughout the show. As a writer, there are two major challenges that I foresee. The first challenge is the arc of the show--needing to keep a steady through-line that will let the audience understand what is happening and follow the history. The second obstacle is making sure the audience understands the show. I may be finishing an M.F.A. in Musical Theatre, but not everyone will be. In fact, some audience members may not know anything about musical theatre. This challenge arises trying to make the show funny to everyone, not just musical theatre dorks. The Research and Analysis portion of my monograph document will follow the course of action laid out in the M.F.A. Thesis Guidelines. The (A) Research section will include the biographical information pertaining to the composers and lyricists involved in the selected materials. Librettists of specific book shows that we choose to utilize as it pertains to our show will also be included in this section. I will also include a brief subsection of each composer, lyricist, and librettist's significance to musical theatre history. The (B) Structural Analysis section will discuss the structure and dramatic organization of how we choose to create A 16 Bar Cut. The (C) Analysis of the Role section will reveal how we employ the stock characters/ comedic duo of the straight man and funny man (i.e., Laurel & Hardy and Abbot & Costello). All other components outlined in the M.F.A. Thesis Guidelines will be included in my document.
M.F.A.
Department of Theatre
Arts and Humanities
Theatre
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Sansom, Rockford. "A 16 BAR CUT: THE HISTORY OF AMERICAN MUSICAL THEATREAN ORIGINAL SCRIPT AND MONOGRAPH DOCUMENT." Master's thesis, University of Central Florida, 2006. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2295.

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Believing that a thesis should encompass all aspects of a conservatory training program, I will write and perform--in collaboration with my classmate Patrick John Moran--a new musical entitled A 16 Bar Cut: The History of American Musical Theatre as the capstone project for my Master of Fine Arts in Musical Theatre. A 16 Bar Cut will be a two-man show that tells the entire history of American musical theatre from the ancient Greeks to today in a tongue-in-cheek manner. The goal of the project is to pay homage to an original American art form in a night of zany silliness and hilarity. The show will feature an informative perspective on the rise and current status of American musical theatre, several new songs, complete irreverence, and grown men singing, dancing, and making utter fools of themselves. Creating my thesis show will test and stretch my knowledge base of the musical theatre art form and virtually every skill that I have developed in my course of study. Since A 16 Bar Cut centers on the historical journey of musical theatre, constructing the new work will demonstrate my understanding of musical theatre history and literature. Performing the show will also challenge my ability and craftsmanship as an actor, singer, and dancer. Not only will I create a through-line character--a heightened, silly, professorial version of myself, but I will also create approximately fifty additional characters used throughout the show. The vocal and dance requirements for my track will also be numerous and demanding. And since the show travels through the major movements of musical theatre history, I will have to dance, sing, and act in the various styles and qualities of each movement and time period. Other significant challenges will center on script development. The first obstacle will be synthesizing music theatre into a single evening while maintaining an arc, storyline, and Patrick and my specific point of view about the genre. Another complexity to the show will be accessibility to the audience--how to be respectful to and informative about musical theatre, while at the same time being entertaining and funny to a wide array of audience members who will vary in musical theatre knowledge. In addition, developing a two-man thesis will require a complete collaboration with Patrick Moran. Since musical theatre is rarely--if ever--a solo art, working as a team will expand and exercise my collaborative abilities. And producing the show with Patrick will test supplementary skills such as marketing, resourcefulness, design and technical elements, etc. The Research and Analysis portion of my monograph document will be structured according to the M.F.A. Thesis Guidelines as applicable to my specific project. The (A) Research section will consist of a biographical glossary on all of the composers and lyricists referenced in A 16 Bar Cut. Librettists' information will be included when their work is pertinent. Additionally, each composer, lyricists, and librettists will be discussed in regards to their significance in musical theatre history. The (B) Structural Analysis section will describe the show's organization and construction and how the structural problems mentioned above are solved. The (C) Role Analysis section will have three sub-sections focusing on my different roles in the production as a playwright, producer, and actor.
M.F.A.
Department of Theatre
Arts and Humanities
Theatre
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Marcus, Reker Katherine B. ""Can We Do A Happy Musical Next Time?": Navigating Brechtian Tradition and Satirical Comedy Through Hope's Eyes in Urinetown: The Musical." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/876.

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This thesis proposes a critical study of the theoretical framework of Urinetown, asking the question of whether or not the show is truly a “Brechtian musical,” utilizing the tenets and beliefs of Bertolt Brecht. Set in a quirky, Gotham-like town where you have “to pay to pee” due to a severe drought, Urinetown follows a cast of absurdist characters as they navigate a society plagued by the perils of big business, ecological devastation, and the inequalities of capitalism. While the show appears to make a relevant social commentary, supporting a righteous rebellion to overthrow the evil Urine Good Company, in the end, by proving that revolution does not always succeed, writers, Kotis and Hollman invalidate these commentaries, proving that despite its Brechtian appearance, the show in its textual form is much more simply a comedic parody. However, Pomona College’s production, in which I played Hope Cladwell, takes on a much more severe tone, creating legitimate commentary by replacing many of the comedic, two-dimensional characters with living breathing, realities. In a text traditionally lacking authenticity, I approached Hope Cladwell with the intention of finding strength and satire in an otherwise vapid character.
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Badue, Alexandre. "Comedy Tomorrow, Tragedy Tonight: Defining the Aesthetics of Tragedy on Broadway." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1342103090.

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Hoglund, Cara. "Transformations: A Folkloric Exploration of the Musical Comedy Into the Woods by Stephen Sondheim and James Lapine." TopSCHOLAR®, 2000. http://digitalcommons.wku.edu/theses/720.

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The purpose of this thesis is to examine the use of folktales in Stephen Sondheim and James Lapine's 1987 award-winning musical Into the Woods. In doing so, I hope to accomplish several directives. First, to enrich understanding of the musical for all audience members, especially those with a folklore or theater background. I feel that understanding the underlying goals and standards that Stephen Sondheim and James Lapine used in creating the musical will provide a much deeper understanding of the genius of their work. I also aim clearly elucidate the merger of folk narrative and popular musical theater form in this innovative musical. My hope is that analyses such as this will encourage a greater exploration of the strong reciprocal relationship between folklore and theater. Into the Woods is based upon four traditional folktales: Cinderella, Rapunzel, Little Red Riding Hood, and Jack and the Beanstalk. A very brief synopsis of the plot runs as follows: Cinderella, Jack, and Little Red all wish for something, and must go into the woods to get it. Rapunzel, heroine of the fourth tale, already lives in the woods with the Witch, though she wishes to see the world. Added to these tales is the central tale created by Lapine, based on the first section of Rapunzel's tale—the Baker turns out to be Rapunzel's older brother, whom their parents had before the Witch acquired Rapunzel. The Baker and his Wife wish to have a child; only when the Witch visits them do they learn that they have not been able to have a child because when the Witch came to collect Rapunzel, she also curse the Baker's family. When the Witch appears she explains to the Baker how to reverse the curse. The Baker must collect: 1) the cow as white as milk; 2) the cape as red as blood; 3) the hair as yellow as corn; 4) the slipper as pure as gold, all of which belong to one of the traditional folktale characters, before the end of the third midnight. Act One is comprised of the Baker and his wife searching for these items as the other four tales play themselves out according to Grimms' version they are based upon. Act Two begins after "Happily Ever After" and attempts to bring the characters back into real life. Rapunzel has psychological problems; the Princes' eyes stray elsewhere; Jack is bored; and Little Red Riding Hood has become violent. By the end of Act Two, almost every character besides Jack, Little Red, Cinderella, and the Baker have died, due to the fact that the wife of Jack's Giant has come to seek revenge for her husband's death. In Act Two, these four main characters learn to take responsibility for the selfish actions they committed while pursuing their wish in Act One. In the process, they mature psychologically and become part of a cohesive group, learning to work together for a common cause and realizing that everything everyone does effects everyone else in some way. No one is alone. My thesis begins with a chapter on the history of folktale scholarship. Chapter Two gives biographies of Sondheim and Lapine, and discusses the history of the American musical comedy in order to put them and this musical into a theater context as well. Chapter Three summarizes the plot in detail and compares the Broadway and London productions of the show, including reviews of the musical soon after it came out. Chapter Four analyzes Into The Woods in terms of the theories of Vladimir Propp, and compares Sondheim and Lapine's versions of the stories to the Grimms versions (using Jack Zipes' translation) and Joseph Jacobs, from whom they drew their version of Jack and the Beanstalk. Chapter Five does the same thing using the scholarship of Axel Olrik and Max Luthi. Chapter Six explores Sondheim and Lapine's intentions behind the themes in the musical, focusing on the works of Bruno Bettelheim and Erich Fromm. In researching fairy tales for their musical, Sondheim and Lapine read several analyses by folklorists and psychologists. They drew mainly from non-folkloristic sources in creating their interpretations. They critiqued Bettelheim's as well as the Jungians' interpretations of the tales. As Lapine states, "Once we decided on choosing the stories, then the obvious thing was to have a point of view about them" (1991:3). They also drew from the works of Erich Fromm, a Neo-Freudian who primarily focused on the relationship between society and the individual and between individuals.
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Elias, Abad Adan Joel, Pumallihua Joel Martinez, Casella Germánico Aldair Oré, and Oscanoa Rosmery Rivera. "Plataforma virtual ticketazo." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2020. http://hdl.handle.net/10757/653039.

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Este proyecto nace ante las dificultades por las que, en este año, todo el pueblo peruano está atravesando, que es el Covid - 19. En tales parámetros, hemos considerado que toda actividad comercial realizada a través del canal tradicional se vería afectado al menos durante el presente año 2020. Entonces, viendo tal situación, optamos por una alternativa la cual es referida al canal virtual. Es ahí cuando nace TicketAzo, que es una plataforma web que le brinda a los usuarios, streamings referidos a teatros musicales. Por ende, en el siguiente trabajo, presentamos todas las investigaciones que se realizaron para poder viabilizar este negocio. Para tal fin, hemos tomado las consideraciones en materia de marketing, diseño, recursos humanos, presupuestos, resultados y estimaciones. Asimismo, mostramos en efecto que, para este rubro, existen ciertos pasos que deben realizarse, tanto legales, estratégicos y operacionales. Para ello, acudimos a fuentes confiables como páginas web del Estado, entrevistas a expertos que nos permitieron llegar a la conclusión de realizar las transmisiones a través de una plataforma web. Además, las estrategias que desarrollamos apuntan a resultados tanto para el corto y largo plazo, los cuales también incluyen a los prospectos financieros destinados como gastos o inversiones para poder incrementar nuestra demanda y estabilidad en el mercado. Respecto a los conceptos operacionales, buscamos optimizar todo tipo de actividad de comprometa un sobrecosto.
This project was born due to the difficulties that the entire Peruvian people are going through this year, which is Covid - 19. In these parameters, we have considered that all commercial activity carried out through the traditional channel would be affected at least during the present year 2020. So, seeing such a situation, we opted for an alternative which is referred to the virtual channel. That's when Ticketazo was born, which is a web platform that provides users with streams referring to musical theatres. Therefore, in the following work, we present all the investigations that were carried out to make this business viable. To this end, we have taken the considerations in terms of marketing, design, human resources, budgets, results and estimates. Likewise, we show in effect that, for this item, there are certain steps that must be carried out, both legal, strategic and operational. To do this, we went to reliable sources such as State web pages, interviews with experts that allowed us to reach the conclusion of making the transmissions through a web platform. In addition, the strategies we develop aim at results for both the short and long term, which also include financial prospects intended as expenses or investments in order to increase our demand and stability in the market. Regarding operational concepts, we seek to optimize all types of activity to commit an extra cost.
Trabajo de investigación
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Ng, Stephanie Yuet Wah. "Modes of production in post-war cantonese cinema : bricolage and sing-song comedy." HKBU Institutional Repository, 2013. http://repository.hkbu.edu.hk/etd_ra/1532.

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Bogossian, Pedro Paulo. "A música no teatro: o sentido do jogo na comédia musical." Universidade Presbiteriana Mackenzie, 2013. http://tede.mackenzie.br/jspui/handle/tede/2141.

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Made available in DSpace on 2016-03-15T19:45:32Z (GMT). No. of bitstreams: 1 Pedro Paulo Bogossian.pdf: 1543314 bytes, checksum: 33c0368c2249c1e243a3831847445707 (MD5) Previous issue date: 2013-02-07
Universidade Presbiteriana Mackenzie
This dissertation addresses issues related to the syncretization of the musical language to the dramatized scene. Considering the idea that there is a game between the sensory substances, from an act in concert among different expressed plans, we intend to describe, in the expressed plans and in the purport of the drama enunciation, how the music is organized and how it contributes to the construction of the scenic narrative and speech. The corpus of this research is a video recording of a scene chosen among various performances of a theater group from São Paulo, Circo Grafitti. Their work is characterized by musical comedy plays, that have not been performed yet, and they are produced based on a collaborative research, composition or adaptation of scripts and songs. The theoretical framework of the analysis of this dissertation is the French Semiotics by Greimas, because it considers the purport plan of the texts in several planes of expression as well as the syncretization in terms of expression, also it understands the script as an organization which carries the effects of meaning.
A presente dissertação aborda questões referentes à sincretização da linguagem musical à cena teatral. A partir da ideia de jogo entre as substâncias sensoriais, do contracenar entre diversos planos da expressão, visamos a descrever, nos planos da expressão e do conteúdo da enunciação teatral, de que modo a música se organiza e contribui para a construção da narrativa e do discurso cênicos. O corpus desta pesquisa constitui-se da gravação em vídeo de uma cena escolhida dentre vários espetáculos do grupo teatral paulistano Circo Grafitti. O trabalho da companhia se caracteriza por montagens que cultivam o gênero da comédia musical, sempre inéditas, em processo colaborativo no trabalho de pesquisa, composição ou adaptação de textos e canções. O quadro teórico utilizado para proceder à análise é o da Semiótica de linha francesa, greimasiana, por esta trabalhar com o plano de conteúdo dos textos em diversos planos de expressão e com a sincretização no plano da expressão, bem como por entender o texto como uma organização que produz efeitos de sentido.
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Polianovskaia, Jana. "The English Operetta and the Musical Comedy as a Reflection of the Russian Anglomania at the End of the 19th Century." Bärenreiter Verlag, 2012. https://slub.qucosa.de/id/qucosa%3A71972.

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Torrissen, Wenche. "The Gaiety girl as a new, 'new woman' : pleasure, female desire and sexual subversion in late-Victorian and Edwardian musical comedy." Thesis, Royal Holloway, University of London, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.521776.

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Books on the topic "Musical comedy"

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Goggin, Dan. Nunsense: A musical comedy. New York: S. French, 1986.

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Sondheim, Stephen. Company: A musical comedy. New York: Theatre Communications Group, 1996.

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Nunsense: A musical comedy. New York: S. French, 1994.

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Robert, Inman. Crossroads: A musical comedy. Woodstock, Ill: Dramatic Pub., 2006.

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Wald, Edwin. The Bermuda musical triangle: A musical-comedy fantasy. [United States?: s.n., 1992.

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Hartley, Sean. Holy Moses!: A musical comedy. Woodstock, Ill: Dramatic Publishing, 1998.

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Bell, Helicopter, ed. Improbable frequency: A musical comedy. London: Nick Hern Books, 2005.

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Corriel, Matt. Intervention: A teen musical comedy. Englewood, CO: Pioneer Drama Service, 2007.

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Blumenfeld's dictionary of musical theater: Opera, operetta, musical comedy. New York: Limelight Editions, 2010.

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Blumenfeld, Robert. Blumenfeld's dictionary of musical theater: Opera, operetta, musical comedy. New York: Limelight Editions, 2010.

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Book chapters on the topic "Musical comedy"

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Driver, Emma, and Sarah Attfield. "Sketching Out Portlandia’s Musical Layers." In Music in Comedy Television, 142–56. New York, NY : Routledge, 2017. | Series: Routledge music and screen media series: Routledge, 2017. http://dx.doi.org/10.4324/9781315639284-11.

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Ostrofsky, Kathryn A. "Sesame Street as a Musical Comedy-Variety Show." In Music in Comedy Television, 15–30. New York, NY : Routledge, 2017. | Series: Routledge music and screen media series: Routledge, 2017. http://dx.doi.org/10.4324/9781315639284-2.

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Cardamone, Donna G. "Musical Comedy at the Prince of Salerno’s Palace in Naples." In Epitome musical, 677–82. Turnhout: Brepols Publishers, 2009. http://dx.doi.org/10.1484/m.em-eb.3.2730.

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Block, Elaine C., and Frédéric Billiet. "Musical Comedy in the Medieval Choir: England." In Profane Arts of the Middle Ages, 209–30. Turnhout: Brepols Publishers, 2007. http://dx.doi.org/10.1484/m.pama-eb.3.873.

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Koegel, John. "Adolf Philipp and the German American Musical Comedy." In The Palgrave Handbook of Musical Theatre Producers, 29–37. New York: Palgrave Macmillan US, 2017. http://dx.doi.org/10.1057/978-1-137-43308-4_4.

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Platt, Len. "Our Sickly Age’s End – Musical Comedy and Modernity." In Musical Comedy on the West End Stage, 1890–1939, 26–58. London: Palgrave Macmillan UK, 2004. http://dx.doi.org/10.1057/9780230512689_2.

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Platt, Len. "The Decline of West End Musical Comedy, 1912–1939." In Musical Comedy on the West End Stage, 1890–1939, 126–51. London: Palgrave Macmillan UK, 2004. http://dx.doi.org/10.1057/9780230512689_6.

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Platt, Len. "Themes and Approaches." In Musical Comedy on the West End Stage, 1890–1939, 1–25. London: Palgrave Macmillan UK, 2004. http://dx.doi.org/10.1057/9780230512689_1.

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Platt, Len. "Chin Chin Chinaman – Doing Other Cultures." In Musical Comedy on the West End Stage, 1890–1939, 59–82. London: Palgrave Macmillan UK, 2004. http://dx.doi.org/10.1057/9780230512689_3.

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Platt, Len. "Aristocracy and the Cultural Politics of Modernity." In Musical Comedy on the West End Stage, 1890–1939, 83–103. London: Palgrave Macmillan UK, 2004. http://dx.doi.org/10.1057/9780230512689_4.

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Conference papers on the topic "Musical comedy"

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Marcaletti, Livio. "»Strafspiel« und satirische Stilmittel in musikdramatischen Gattungen des frühen 18. Jahrhunderts." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.63.

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The tendency of today’s historiography to portray early 18th-century Italian opera as a dichotomy between opera seria and opera buffa takes too little account of the existence of genera mixta. However, contemporary composers and authors sometimes referred to a tripartiton. In his treatise Der vollkommene Capellmeister (1739), Johann Mattheson distinguishes between tragedy, comedy and satire. His description of the melodies from a satirical opera is limited to the statement that they are “ridiculous, poseuristic and prickly”. This definition can be applied to the analysis of dramatic vocal works with the help of Gérard Genette’s category of “burlesque travesty” which describes the stylistic degradation of a tragic-heroic subject as a satirical function. This stylistic mixture is achieved by the use of specific musical devices, which are shown in this article on the basis of case studies on music by Francesco Bartolomeo Conti, Johann Sebastian Bach and Georg Friedrich Händel.
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Costalonga, Leandro, Daniel Coura, Marcus Vinícius Das Neves, Fabiano Costa, and Helder Rocha. "NESCoM Research Report (2019)." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10437.

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The NESCoM is a multidisciplinary research center formed by musicians, engineers and computer scientists. The main research interest lies with sonology, audiotacticle musical analysis, ubiquitous music, interactive multimedia installations, and the design of computer music technology in general. Overall, the common ground for the NESCoM projects lies with the human-aspects, both cognitive and motor, behind a musical activity. This can come, for instance, in the shape of an audiotactile analysis of musical interaction applied to a new digital musical interface designed to overcome human physical constraints or the composition of a cinema soundtrack based on perceptual models of the audience. In this paper, it is reported a short description of the ongoing projects of the NESCoM and the future works.
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Bond, Brad. "“Celestina, a Tragic Musical Comedia”: A New Old Bawd-way Musical." In I Congreso Virtual del Círculo de Estudios de la Literatura Picaresca y Celestinesca (CELPYC). Círculo de Estudios de la Literatura Picaresca y Celestinesca (CELPYC), 2020. http://dx.doi.org/10.47537/celpyc2020.02.

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Haiawi, Maryam. "Das Oratorium im Spannungsfeld der Konfessionen: Zum interkonfessionellen Austausch von Oratorien im 18. Jahrhundert." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.55.

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The present study deals with interconfessional exchange of oratorios in German-speaking countries during the 18th century. In doing so, it pursues the goal of focusing on the question of the denominational or non-denominational nature of the sacred music genre, a question that has so far been insufficiently discussed in musicological and literary research. It analyses selected oratorios between 1715 and 1781 which were written at important contemporary musical locations and were received interdenominationally (Hamburg, Leipzig, Brunswick, Catholic imperial court of Vienna, Catholic Saxon court at Dresden). The study comes to the conclusion that the oratorio of the 18th century was not defined solely by its denominational orientation, but influenced by a number of other factors reflecting the intellectual-historical upheavals of the Age of Enlightenment: contemporary musical aesthetics, socio-cultural developments (middle-class concert business), and fundamental religious-historical dynamics that led to a distancing from dogma and to a change in piety practice.
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Eato, Jonathan. "Township comets: The impact of South African jazz on the UK scene." In Situating Popular Musics, edited by Ed Montano and Carlo Nardi. International Association for the Study of Popular Music, 2012. http://dx.doi.org/10.5429/2225-0301.2011.15.

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Iazzetta, Fernando. "The Politics of Computer Music." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10464.

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When a set of objects, actions, and procedures begin to coalesce and gain some coherence, they become perceived as a new, cohesive field. This may be related to the emergence of a new discipline, a new craft, or a new technological configuration. As this new field shows some coherence and unity, we tend to overlook the conditions that gave rise to it. These conditions become "naturalized" as if they were inherent in that field. From this point on, we do not wonder anymore to what extent the contingencies (formal, social, economic, technological, aesthetic, religious) that gave rise to that field have been crucial to its constitution. When it comes to computer music we are comfortably used to its applied perspective: tools, logical models, and algorithms are created to solve problems without questioning the (non-computational) origin of these problems or the directions taken by the solutions we give to them. The idea of computing as a set of abstract machines often hides the various aspects of the sonic cultures that are at play when we develop tools and models in computer music. The way we connect the development of computer tools with the contingencies and contexts in which these tools are used is what I call the politics of computer music. This connection is often overshadowed in the development of computer music. However, I would like to argue that this connection is behind everything we do in terms of computer music to the point that it often guides the research, development, and results within the field.
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Martinelli, Jose, Jessica Ivanovs, and Marcos Martinelli. "GERIATRIC EVALUATION IN 27 CASES OF MUSICAL HALLUCINATION." In XIII Meeting of Researchers on Alzheimer's Disease and Related Disorders. Zeppelini Editorial e Comunicação, 2021. http://dx.doi.org/10.5327/1980-5764.rpda073.

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Background: Musical hallucination (AM) is a type of complex auditory hallucination described as hearing musical tones, rhythms, harmonies, and melodies without the corresponding external auditory stimulus. This type of hallucination is relatively rare and is seen less often than other types of hallucination. Such hallucinations can be continuous or intermittent and are usually accompanied by a clear and critical awareness on the part of the patient. AM are found mainly in elderly women with progressive hearing loss, usually due to ear diseases or lesions. They also occur in neurological disorders, neuropsychological disorders (eg dementia) and psychiatric disorders, especially depression. Objective: To evaluate clinical and neuropsychological issues of the elderly with Musical Hallucinations Methods: Twenty-seven outpatient patients clinic of Geriatrics and Gerontology at FMJ from January 2010 to October 2019 were selected Results: Of the 27 patients, 20 were women. The average age was 83.47 years. The most prevalent diseases were systemic arterial hypertension, osteoporosis, diabetes mellitus, hypothyroidism, osteoporosis, chronic obstructive pulmonary disease and dementia syndrome. With the exception of one patient, all had hearing loss. The songs were the most varied from Gregorian chant to lullaby. Many had this picture for months and continuously (day and night). 40% of them had no insight into AM. We emphasize that all these patients sought medical care with the main complaint of musical hallucination. Conclusion: In general, AM has an uninterrupted, fragmentary and repetitive character. They are involuntary, intrusive and have an apparent exteriority. They differ from the simple mental image of auditory sensation in that they appear to come from outside the individual as if they actually hear an external device playing music. Currently, it is estimated that about 2% of elderly people with hearing loss also have AM. The neuropsychological basis of AM is not fully established. The phenomenological study, especially the perception of complex sequences and consistency with previous auditory experience strongly suggest the involvement of central auditory processing mechanisms. Normal musical auditory processing involves several interrelated brain levels and subsystems. While the recognition of elementary sounds is done in the primary auditory cortex, the recognition of musical characteristics such as notes, melody and metric rhythm occur in a secondary and tertiary association center, which in turn, are greatly influenced by regions linked to memory and emotion.
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Viramgami, Gaurav, Hitarth Gandhi, Hrushti Naik, Nipun Mahajan, Praveen Venkatesh, Shivam Sahni, and Mayank Singh. "Indian Classical Music Synthesis." In CODS-COMAD 2022: 5th Joint International Conference on Data Science & Management of Data (9th ACM IKDD CODS and 27th COMAD). New York, NY, USA: ACM, 2022. http://dx.doi.org/10.1145/3493700.3493762.

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Miyazaki, Shintaro. "Musik für Maschinen?! – Wo sich die Wissenschaft der Medien, des Computers und der Musik treffen und wie sie zusammenarbeiten könnten." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.105.

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Musicology and computer science do not only come together in areas such as the use, analysis and performance of digitized data, but also meet in unexpected places such as in context of critical media studies and inquiries about the material and aesthetic conditions of digitality. Such „exploratory interactions“ with computers and their aesthetics might resonate well with musicology. This mini-contribution firstly presents a historical situation in which for a short period in the 20th century the machinic music of digitality became audible. It then formulates, just as briefly and sketchily, the socio-critical potential of music-oriented approaches, especially rhythm analysis, still to be tested, when it comes to grasp and understand digitality in as many facets as possible (socio-technological, aesthetic, historical and epistemic). Thereby, a fourth partner might be of importance: pedagogy.
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Kerr, Vicki. "Performing nature unnaturally: Musique concrète and the performance of knowledge - one seabird at a time." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.129.

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Migratory seabirds are an unseen conduit between marine and terrestrial systems, carrying the nutrients they consume at sea into the forests where they breed. Acting as environmental sentinels, their health and reproductive success provide early warning signals of deteriorating marine eco-systems as the climate changes, and fish stocks decrease. Aotearoa New Zealand is the seabird capital of the world, with ~25% of all species breeding here and ~10% exclusively so. They play a critical role in maintaining healthy ecosystems, with their long-term well-being is closely interconnected with our own prospects for a sustainable future. Now predominantly restricted to off-shore islands due to predation and habitat destruction, seabirds and their familiar sounds have become less available in an age when the unprecedented global movement and planetary spread of the human population has culminated in unsustainable fishing, predators and habitat destruction. Inspiring mythology, song, poetry and stories, birds have been significant in shaping our understanding of how our natural environment has come to be known and understood. This paper speculates upon how we learn to communicate and cooperate with these precious taonga, and what might be learned from such an exchange through creative practice. Reflecting upon what birds might tell us, musician Matthew Bannister and I, a visual artist, have taken our cue from seabirds sharing our local environment on the west coast of Aotearoa - from the petrel (peera) through to the gannet (tākapu). Working on the premise that bird vocalisation is a performed negotiation that includes defence of territory and mate attraction, a bird’s call is a form of communication that effectively says “Come here” or “Go away”, which arguably is true of music – marking a social space and time to invite or repel. Rather than limiting bird calls to functionalist categories of explanation, we ask whether seabirds can communicate and exchange information about environmental changes using a malleable vocabulary, comprised of unique acoustic units arranged and re-arranged sequentially for greater communicative depth. Granting a high level of agency and creativity to birds as opposed to believing a bird only avails itself of stereotyped ‘speech’ to survive an accident-rich environment, places greater importance on responses that are improvised directly upon environmental stimuli as irritant rather than as a signal. Matthew explores bird calls via musique concrète, sampling recordings of seabirds to abstract the musical values of bird song conventions – a human response to the ‘other’ in jointly formed compositions, reflecting a living evolving relationship between composer and bird. In further developing our research into a multimedia artwork, I shall extend a technique used for electroacoustic composition (granular synthesis) to video portraits of composer/performer and bird. In applying granular synthesis techniques to video, tiny units of image and sampled sound are reassembled within the frames. Through the mixing of existing synthesised sequences, performer/composer and bird become active participants in the making and remaking of a shared environment, articulating the limits of space/territory to find new ways to be heard within it.
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Reports on the topic "Musical comedy"

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Cox, Jeremy. The unheard voice and the unseen shadow. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.621671.

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The French composer Francis Poulenc had a profound admiration and empathy for the writings of the Spanish poet Federico García Lorca. That empathy was rooted in shared aspects of the artistic temperament of the two figures but was also undoubtedly reinforced by Poulenc’s fellow-feeling on a human level. As someone who wrestled with his own homosexuality and who kept his orientation and his relationships apart from his public persona, Poulenc would have felt an instinctive affinity for a figure who endured similar internal conflicts but who, especially in his later life and poetry, was more open about his sexuality. Lorca paid a heavy price for this refusal to dissimulate; his arrest in August 1936 and his assassination the following day, probably by Nationalist militia, was accompanied by taunts from his killers about his sexuality. Everything about the Spanish poet’s life, his artistic affinities, his personal predilections and even the relationship between these and his death made him someone to whom Poulenc would be naturally drawn and whose untimely demise he would feel keenly and might wish to commemorate musically. Starting with the death of both his parents while he was still in his teens, reinforced by the sudden loss in 1930 of an especially close friend, confidante and kindred spirit, and continuing throughout the remainder of his life with the periodic loss of close friends, companions and fellow-artists, Poulenc’s life was marked by a succession of bereavements. Significantly, many of the dedications that head up his compositions are ‘to the memory of’ the individual named. As Poulenc grew older, and the list of those whom he had outlived lengthened inexorably, his natural tendency towards the nostalgic and the elegiac fused with a growing sense of what might be termed a ‘survivor’s anguish’, part of which he sublimated into his musical works. It should therefore come as no surprise that, during the 1940s, and in fulfilment of a desire that he had felt since the poet’s death, he should turn to Lorca for inspiration and, in the process, attempt his own act of homage in two separate works: the Violin Sonata and the ‘Trois Chansons de Federico García Lorca’. This exposition attempts to unfold aspects of the two men’s aesthetic pre-occupations and to show how the parallels uncovered cast reciprocal light upon their respective approaches to the creative process. It also examines the network of enfolded associations, musical and autobiographical, which link Poulenc’s two compositions commemorating Lorca, not only to one another but also to a wider circle of the composer’s works, especially his cycle setting poems of Guillaume Apollinaire: ‘Calligrammes’. Composed a year after the ‘Trois Chansons de Federico García Lorca’, this intricately wrought collection of seven mélodies, which Poulenc saw as the culmination of an intensive phase in his activity in this genre, revisits some of ‘unheard voices’ and ‘unseen shadows’ enfolded in its predecessor. It may be viewed, in part, as an attempt to bring to fuller resolution the veiled but keenly-felt anguish invoked by these paradoxical properties.
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Crispin, Darla. Artistic Research as a Process of Unfolding. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.503395.

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As artistic research work in various disciplines and national contexts continues to develop, the diversity of approaches to the field becomes ever more apparent. This is to be welcomed, because it keeps alive ideas of plurality and complexity at a particular time in history when the gross oversimplifications and obfuscations of political discourses are compromising the nature of language itself, leading to what several commentators have already called ‘a post-truth’ world. In this brutal environment where ‘information’ is uncoupled from reality and validated only by how loudly and often it is voiced, the artist researcher has a responsibility that goes beyond the confines of our discipline to articulate the truth-content of his or her artistic practice. To do this, they must embrace daring and risk-taking, finding ways of communicating that flow against the current norms. In artistic research, the empathic communication of information and experience – and not merely the ‘verbally empathic’ – is a sign of research transferability, a marker for research content. But this, in some circles, is still a heretical point of view. Research, in its more traditional manifestations mistrusts empathy and individually-incarnated human experience; the researcher, although a sentient being in the world, is expected to behave dispassionately in their professional discourse, and with a distrust for insights that come primarily from instinct. For the construction of empathic systems in which to study and research, our structures still need to change. So, we need to work toward a new world (one that is still not our idea), a world that is symptomatic of what we might like artistic research to be. Risk is one of the elements that helps us to make the conceptual twist that turns subjective, reflexive experience into transpersonal, empathic communication and/or scientifically-viable modes of exchange. It gives us something to work with in engaging with debates because it means that something is at stake. To propose a space where such risks may be taken, I shall revisit Gillian Rose’s metaphor of ‘the fold’ that I analysed in the first Symposium presented by the Arne Nordheim Centre for Artistic Research (NordART) at the Norwegian Academy of Music in November 2015. I shall deepen the exploration of the process of ‘unfolding’, elaborating on my belief in its appropriateness for artistic research work; I shall further suggest that Rose’s metaphor provides a way to bridge some of the gaps of understanding that have already developed between those undertaking artistic research and those working in the more established music disciplines.
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