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Relevant bibliographies by topics / Musicals Musical theater Musical theater

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Academic literature on the topic 'Musicals Musical theater Musical theater'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Musicals Musical theater Musical theater"

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Fulton, Patrick. "Musical Theater Songs." Music Reference Services Quarterly 19, no. 3-4 (October 2016): 238–41. http://dx.doi.org/10.1080/10588167.2016.1231483.

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Sajewski, Mallory. "Musical Theater Songs." Notes 73, no. 4 (2017): 764–65. http://dx.doi.org/10.1353/not.2017.0061.

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Tsihan, Xia. "INTERPRETATION OF MUSICAL GENRE IN THE WORKS OF R. IGNATIEV AND K. BREITBURG." Arts education and science 1, no. 2 (2021): 121–25. http://dx.doi.org/10.36871/hon.202102015.

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Theater in Russia has for a long time neither cultivated nor encouraged the pursuit of entertainment and commercial success. Perhaps that is why, the first attempts to integrate the musical into the Russian theater environment ended in failure. "My Fair Lady" by F. Loewe, staged at the Stanislavsky and Nemirovich-Danchenko Theatre, "Avtograd–1929", staged at the Satire Theater and the "Chicago" musical, after several performances, were removed from the repertoire or, like enterprise productions, ceased to exist. The purpose of this research is to determine the reasons for the growing popularity of the literary musical in Russia. The article examines the development of literary musical through the work of its outstanding representatives, composers R. Ignatiev and K. Breitburg. Scientific novelty of the work lies in the study of previously unpopular classical literature samples, which are the basis for the modern musical theatre genre.

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Mamy, Sylvie, Giovanni Morelli, Reinhard Strohm, and Thomas Walker. "Drammaturgia Musicale Veneta. Musical Theater in the Venetian-Republic." Revue de musicologie 72, no. 1 (1986): 149. http://dx.doi.org/10.2307/928787.

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Block, Geoffrey. ""Reading Musicals": Andrea Most's Making Americans: Jews and the Broadway Musical (Cambridge: Harvard University Press, 2004)." Journal of Musicology 21, no. 4 (2004): 579–600. http://dx.doi.org/10.1525/jm.2004.21.4.579.

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Andrea Most's Making Americans: Jews and the Broadway Musical studies eight musicals (The Jazz Singer, Whoopee, Girl Crazy, Babes in Arms, Oklahoma!, Annie Get Your Gun, South Pacific, and The King and I) in an effort to explore "how first- and second-generation American Jewish writers, composers, and performers used the theater to fashion their own identities as Americans."Most offers imaginative and often insightful sociological readings of musical librettos, lyrics, even stage directions, but virtually ignores music. That music can sometimes elucidate or contradict an exclusively social or literary reading may be seen, for example, in Emile de Becque's immobility at the end of "Some Enchanted Evening." In other cases, when the social assimilation of Jewish characters is revealed to be a musical one as well, music can support Most's argument. The problem exemplified by writings such as Most's-the distortions and misreadings that may result from a social history that does not engage music-may be seen in the broader context of Broadway and opera scholarship. Lessons to be learned from studying the musical Show Boat and the works of Sondheim point to the need for scholars and critics to consider how the music in musicals might convey social meanings, intellectual content, and dramatic ideas beyond words, stories, and stage directions.

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Wollman, Elizabeth L. "How to Dismantle a [Theatric] Bomb: Broadway Flops, Broadway Money, and Musical Theater Historiography." Arts 9, no. 2 (May 29, 2020): 66. http://dx.doi.org/10.3390/arts9020066.

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The Broadway musical, balancing as it does artistic expression and commerce, is regularly said to reflect its sociocultural surroundings. Its historiography, however, tends for the most part to emphasize art over commerce, and exceptional productions over all else. Broadway histories tend to prioritize the most artistically valued musicals; occasional lip service, too, is paid to extraordinary commercial successes on the one hand, and lesser productions by creators who are collectively deemed great artists on the other. However, such a historiography provides less a reflection of reality than an idealized and thus somewhat warped portrait of the ways the commercial theater, its gatekeepers, and its chroniclers prioritize certain works and artists over others. Using as examples Ain’t Supposed to Die a Natural Death (1971), Merrily We Roll Along (1981), Carrie (1988), and Spider-Man: Turn Off the Dark (2011), I will suggest that a money-minded approach to the study of musicals may help paint a clearer picture of what kinds of shows have been collectively deemed successful enough to remember, and what gets dismissed as worthy of forgetting.

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Kuklinskaya, M. Ya. "Opera and “Director’s” Theatre of the 21st Century." Observatory of Culture 15, no. 3 (August 19, 2018): 272–81. http://dx.doi.org/10.25281/2072-3156-2018-15-3-272-281.

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The article raises the issues of interaction between modern direction and the musical text of opera. Researches of foreign and domestic scientists in the fi eld of theatre studies and musicology allow analyzing a musical performance as an independent text, in which there is an interchange between different types of art. The author focuses on the opera as a dialogue between music and theater. The author proposes three main forms of the dialogue for consideration: the director and the composer, the director and the viewer, the director and the actor. The article expresses the opinion that, in the process of interaction between the director and the opera text, some myths appeared and started to impede the development of this process and to cause confl ict situations while analyzing the fi nal results. Among those kinds of myths, the author reckons the idea of director-conceptualist as the destroyer of the composer’s idea, the unconditional defi nition of this idea, and the so-called “reverse logic” of feeling and action in musical theater. Observing the functioning of each of these myths on concrete examples, the author comes to conclusion on the necessity to “debunk” them for further successful development of musical theater. From this position, the article analyzes fragments from operas by Russian and foreign composers and their stage impersonations. In the dialogue “director—viewer”, two main ways of the participants’ interaction are defi ned: the theater as a form of escapism and the theater as a “catalyst” of intelligence. The author emphasizes the need to have both the ways, so that the viewer should be able to choose. The author considers the relations between the director and the actor to be the most positive for the modern theatre, which led to the emergence of a new type of performer on the modern opera stage: singerartist, who fully owns the acting technique of “internal action”. The article concludes that there is an ambiguous, but rather perspective and positive situation in the modern musical theater, which determines further ways of the genre’s development.

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Kaidi, Wang. "CULTURAL CONTACTS BETWEEN RUSSIA AND CHINA IN THE FIELD OF MUSIC AND DRAMA THEATER (50s of the XXth century)." Arts education and science 1, no. 2 (2021): 99–106. http://dx.doi.org/10.36871/hon.202102012.

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The article is devoted to the cultural cooperation between the USSR and the People's Republic of China in the field of musical theater. The Treaty of Friendship, Alliance and Mutual Assistance between these two countries, signed in Moscow on February 14, 1950, became a starting point in the development of cultural contacts. The most productive period was from 1949 to early 1960s. An important marker of the development of Soviet-Chinese cultural relations was the tour of theater troupes from both countries to the Soviet Union and the Celestial Empire. The Stanislavsky and Nemirovich-Danchenko Moscow Musical Theater team visited China in 1954, and later the artists of the Shaoxing Opera and the Shanghai Theater of Beijing Musical Drama demonstrated their art in Russian cities. The two countries' directors showed mutual interest in the classical opera art of their counterparts: in Beijing and Tianjin P. I. Tchaikovsky's "Eugene Onegin" and "The Queen of Spades" were performed by Chinese singers, while in Russian cities the traditional Chinese theatre plays "The Spilled Cup" and "The Grey-Haired Girl" were staged by Russian artists.

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Brower, John. "A Core Musical Theater Collection." Music Reference Services Quarterly 8, no. 2 (December 2002): 45–86. http://dx.doi.org/10.1300/j116v08n02_05.

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Gun, G. E. "Music Theater “Online”." Izvestia Ural Federal University Journal Series 1. Issues in Education, Science and Culture 26, no. 4 (2020): 93–99. http://dx.doi.org/10.15826/izv1.2020.26.4.074.

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The article discusses the features of online broadcasts of musical performances in a pandemic. The paper emphasizes the ambiguity of the attitude towards online broadcasts, examines the problems and experience gained in the process of organizing online shows of theater performances, notes the potential of online formats for the development of theater audiences. The author analyzes the summary billboard of online broadcasts in AprilMay 2020 and gives recommendations for the development of online formats for musical theater.

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Dissertations / Theses on the topic "Musicals Musical theater Musical theater"

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Gallagher, Kelsey B. "So Much Better: A Lighting Design Approach for a Production of Legally Blonde: The Musical." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555414324698267.

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Axtell, Katherine Leigh. "Maiden voyage : the genesis and reception of Show boat, 1926-1932 /." Digitized version, 2009. http://hdl.handle.net/1802/10968.

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Thesis (Ph. D)--University of Rochester, 2009.
Includes abstract and vita. Includes bibliographical references. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/10968

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Bradford, Joshua. "Clockwork plums." Thesis, connect to online resource, 2004. http://www.unt.edu/theses/open/20041/bradford%5Fjoshua/index.htm.

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Thesis (M.M.)--University of North Texas, 2004.
Musical, for 5 vocalists, flute/tenor sax, clarinet/baritone sax, violin, cello, piano, electric keyboard, electric guitar, electric bass, drum set, and percussion. Based on a story by Joshua Forehand (pseudonym of Bradford), with additional lyrics by Joshua Bradford. Includes analysis by composer (p. 1-37). Includes bibliographical references (p. 36-37).

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Gordon, Wendy A. "The marriage of musical theater and the avant-garde: The musical theater of Tina Landau as experimental theater." Thesis, The University of Arizona, 2004. http://hdl.handle.net/10150/292018.

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Tina Landau's writing and directing work has gained increasing prominence over the last decade. She has made strides in both the experimental and the musical theater arenas, and her accomplishments in each are noteworthy independent of each other. However, her concurrent interest and success in both arenas, which are commonly viewed as quite disparate, make her work particularly interesting. These interests, which might seem incongruent, are actually interrelated; her work in one area influences her work in the other, a fact which is evident both in her rehearsal process and the end products. Her experimental work has a musical sensibility and her work in musical theater is quite experimental. This thesis examines works for which she was both writer and director as representative examples: 1969, Stonewall: Night Variations, Space, Floyd Collins and Dream True. Her amalgamated sensibility results in a directing style which serves contemporary musicals, particularly "smart musicals," well.

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Bidgood, Lee. "River Song (musical theater production)." Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/etsu-works/1049.

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Lentz, Cassandra Nicole. "The Scenic Design for a Production of Legally Blonde the Musical." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555345046533812.

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Sugarbaker, Sarah. "Scenic design for the musical Godspell." Columbus, Ohio : Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1243614306.

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Carter, Duane Martin. "Writing for musical theatre: Forever yours." CSUSB ScholarWorks, 2000. https://scholarworks.lib.csusb.edu/etd-project/1590.

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Do, Rozario Rebecca-Anne Charlotte. "Disney animated and theatrical musicals : interpreting the magic from The little mermaid to The little mermaid." Monash University, Centre for Drama and Theatre Studies, 2003. http://arrow.monash.edu.au/hdl/1959.1/5660.

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Hoffman, Brian D. "Elements of the Musical Theater Style: 1950–2000." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1307322562.

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Books on the topic "Musicals Musical theater Musical theater"

1

Allen, Cohen. Writing musical theater. New York, NY: Palgrave Macmillan, 2006.

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Hatta. Tun Perak: Sebuah teater semi musikal = a semi musical theatre. Kuala Lumpur: Istana Budaya, 2001.

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Cohen, Allen, and Steven L. Rosenhaus. Writing Musical Theater. New York: Palgrave Macmillan US, 2006. http://dx.doi.org/10.1007/978-1-137-04810-3.

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1948-, Walker Christine, ed. Wooleycat's musical theater. Santa Rosa, Calif: Tortuga Press, 2003.

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Len, Platt, ed. Musical theater and American culture. Westport, Conn: Praeger, 2003.

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Chen, Bill. The musical. Alhambra, Calif: Heryin Books, Inc., 2013.

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1952-, Briggs Tom, and Hammerstein Oscar 1895-1960, eds. Musical scene study: The musicals of Rodgers & Hammerstein. New York: Applause Theatre and Cinema Books, 2007.

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Novak, Elaine Adams. Staging musical theatre. Cincinnati, Ohio: Betterway Books, 1996.

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The musical: A look at the American musical theater. New York: Applause, 1995.

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Drone, Jeanette Marie. Musical theater synopses: An index. Lanham, Md: The Scarecrow Press, 1998.

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Book chapters on the topic "Musicals Musical theater Musical theater"

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Cornelius, Steven, and Mary Natvig. "American Musical Theater." In Music a Social Experience, 209–27. Second edition. | New York ; London : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315222868-13.

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Cohen, Allen, and Steven L. Rosenhaus. "Theater Basics." In Writing Musical Theater, 3–13. New York: Palgrave Macmillan US, 2006. http://dx.doi.org/10.1007/978-1-137-04810-3_1.

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Ullom, Jeffrey. "Musicals in the Regional Theater." In The Routledge Companion to the Contemporary Musical, 408–17. New York; London: Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781315543703-50.

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Goldberg, Halina. "Musical Theater." In Music in Chopin's Warsaw, 217–53. Oxford University Press, 2008. http://dx.doi.org/10.1093/acprof:oso/9780195130737.003.0008.

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"Musical Theater." In The Musical, 23–76. Routledge, 2005. http://dx.doi.org/10.4324/9780203329764-6.

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McLamore, Alyson. "Whither Musical Theater?" In Musical Theater, 507–25. Routledge, 2017. http://dx.doi.org/10.4324/9781315563770-46.

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"Whither Musical Theater?" In Musical Theater, 310–12. Taylor & Francis, 2016. http://dx.doi.org/10.4324/9781315663517-50.

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Wallace, Mary Elaine. "American Musical Theater." In Music in American Society 1776–1976, 161–73. Routledge, 2019. http://dx.doi.org/10.4324/9781351318488-11.

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McLamore, Alyson. "The Birth of “Staged” Music." In Musical Theater, 3–10. Routledge, 2017. http://dx.doi.org/10.4324/9781315563770-1.

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McLamore, Alyson. "Operetta in America, 1880–1903." In Musical Theater, 89–98. Routledge, 2017. http://dx.doi.org/10.4324/9781315563770-10.

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Conference papers on the topic "Musicals Musical theater Musical theater"

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Barnes, Jaclyn, S. Maryam FakhrHosseini, Eric Vasey, Joseph Ryan, Chung Hyuk Park, and Myounghoon Jeon. "Promoting STEAM Education with Child-Robot Musical Theater." In 2019 14th ACM/IEEE International Conference on Human-Robot Interaction (HRI). IEEE, 2019. http://dx.doi.org/10.1109/hri.2019.8673311.

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Krylovskaya, Izabella Ilinichna. "Orchestra of the Khabarovsk Territory Musical Theater as a part of the theater history development in the Far East of Russia." In X International Research-to-practice conference. TSNS Interaktiv Plus, 2017. http://dx.doi.org/10.21661/r-129868.

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Nurgayanova, Nelya. "FIRST EXPERIENCES OF CREATING MUSICAL SPACECLES IN THE TATARIAN THEATER IN THE CREATION OF SULTAN GABYASHI." In 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocial2018/6.2/s25.022.

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Vander Wilt, Dirk, and Morwaread Mary Farbood. "Syncing Pre-Recorded Audio Description to a Live Musical Theater Performance Using a Reference Audio Recording." In ASSETS '19: The 21st International ACM SIGACCESS Conference on Computers and Accessibility. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3308561.3354624.

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Koch, Renate. "Marcel Prawy und das erste Broadway-Musical im Österreich der Nachkriegszeit." 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/10.25366/2020.57.

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Marcel Prawy, born in Vienna, graduated in law. In 1936, the couple Kiepura/Eggerth engaged him as private assistant. Two years later Jan Kiepura helped him to emigrate to New York. In 1943, after his employment ended, Prawy joined the US Army. Finally he returned as an elite soldier to Vienna and began his pioneering work for ‘Broadway Musicals’. In 1955, he was appointed dramaturge at the ‘Wiener Volksoper’. One year later in February, Kiss Me, Kate was performed in two Austrian theatres. The Viennese version was produced by Prawy himself and staged by Heinz Rosen. In Graz André Diehl directed the orchestration by conductor Rudolf Bibl on the basis of a piano score. Prawy relied on a mixture of Austrian theatre luminaries and American actors. In the Volksoper 183 performances took place – Graz had only 16. The reviews for the Viennese premiere reaffirmed the cheers. The criticism of the Graz production did not receive the same attention as Prawy’s production did.

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Loo, Fung Ying, and Fung Chiat Loo. "MUSICAL THEATRE AS A LEARNING TOOL: DAMA ORCHESTRA’S DOCUTAINMENT." In 14th International Technology, Education and Development Conference. IATED, 2020. http://dx.doi.org/10.21125/inted.2020.0448.

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Liu, Chin-Li, and Yen-Ting Chang. "An interactive e-book application in musical production of university theatre department." In 2015 International Conference on Interactive Collaborative Learning (ICL). IEEE, 2015. http://dx.doi.org/10.1109/icl.2015.7318143.

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López-González, Mónica. "Cognitive psychology meets art: exploring creativity, language, and emotion through live musical improvisation in film and theatre." In IS&T/SPIE Electronic Imaging, edited by Bernice E. Rogowitz, Thrasyvoulos N. Pappas, and Huib de Ridder. SPIE, 2015. http://dx.doi.org/10.1117/12.2083880.

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Polozova, Irina Viktorovna, and Arina Sergeyevna Chirila. "Russian Provincial Musical Theatre in the First Quarter of the 20th Century in Saratov: Main Trends and Phenomena." In 4th International Conference on Art Studies: Science, Experience, Education (ICASSEE 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200907.005.

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