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Journal articles on the topic 'Musicals'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Greenspan, Charlotte. "Death Comes to the Broadway Musical." Daedalus 141, no. 1 (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 ma

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2

Hodge, Matthew. "21st-Century Broadway Musicals and the ‘Best Musical’ Tony Award: Trends and Impact." Arts 9, no. 2 (2020): 58. http://dx.doi.org/10.3390/arts9020058.

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Recent Broadway theatre seasons consistently saw record-breaking numbers of admissions and grosses, with musicals’ ticket sales making up 78–89% of annual Broadway grosses. The annual Tony Awards continue to serve as an influential theatre industry establishment that helps define a Broadway musical as exceptional and worthy of audiences, especially the awarding of the ‘Best Musical’ category (which can statistically have a profound impact on a production’s longevity). This article offers comprehensive surveying and discussions of significant components of a musical’s initial Broadway success i

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3

Boffone, Trevor. "From Heathers to Six: Stealth musicals and the TikTok Broadway archive." Studies in Musical Theatre 15, no. 3 (2021): 175–89. http://dx.doi.org/10.1386/smt_00070_1.

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This article explores two popular TikTok trends that use sound bites from the original cast recordings of Heathers: The Musical and Six. The ‘Martha Dumptruck in the Flesh’ challenge from Heathers: The Musical and the ‘Yeah That Didn’t Work Out’ challenge from Six were, by and large, completely detached from the musicals. TikTokers who engaged with these trends, therefore, likely did not even know that the sound bites came from musicals. These musicals became what I term ‘stealth musicals’, or undercover musicals that proliferate on TikTok in ways that are completely removed from the show’s dr

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4

Mellers, Wilfrid. "Platform: Are Musicals Musical?" Musical Times 132, no. 1782 (1991): 380. http://dx.doi.org/10.2307/965879.

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5

Zagozdzon, Agnieszka. "Backstage am Broadway: das Filmmusical 42ND STREET (USA 1933, Lloyd Bacon) zwischen musikpraktischem Realismus und choreografischen Fantasien." Kieler Beiträge zur Filmmusikforschung 14 (July 3, 2023): 72–89. http://dx.doi.org/10.59056/kbzf.2019.14.p72-89.

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The 1933 movie musical 42ND STREET is considered as a prototype of the so- called »Backstage Musicals« – a genre which puts the developmental process of a musical at the heart of the story. Due to the realistic portrayal of this process, 42ND STREET is seen as one of the most prominent and influential works in the history not only of movie musicals, but of staged musicals as well. One of the most decisive parts in this realistic portrayal is the almost entirely diegetical use of music within the movie, resulting from rehearsals or performances shown on the screen. Additionally, the songs withi

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6

Jiang, Xiaomeng, and Yiyan Shao. "Rock Elements in The Creation of French Musicals." International Journal of Education and Humanities 4, no. 2 (2022): 69–71. http://dx.doi.org/10.54097/ijeh.v4i2.1508.

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French musicals are unique models of modern musicals beyond the classic musicals of Broadway and the west end of England. The French, who are "fashionable, romantic and modern", based on the creation of British and American musicals and through the exploratory and experimental development of various musical elements, have created the "French style" musicals with a strong sense of stage. Among them, the addition of "rock elements" is a highlight that cannot be ignored in the creation of French musicals. This paper studies the origin of "rock elements" in the accompaniment music of French musica

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7

Chen, Yan, Hyung-Deok Shin, and Taeyoung Chung. "Effects of Ticket Price on Intention to Watch: Focusing on Objective Price and Frame Effect of Musical Types." Asia Europe Perspective Association 18, no. 4 (2021): 47–70. https://doi.org/10.31203/aepa.2021.18.4.003.

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As quality of life has increased, cultural industry has grown very quickly and people are having more and more interest on cultural values in their daily lives. Consequently, the demand for cultural products, especially musicals, has been increased. Musicals are originated in western countries, but now populated in many countries over the world, becoming a major industry in many cases. In South Korea, musicals has been of interest since the licensed musical ‘Phantom of the Opera’ was staged in 2001 and the share of musicals among performance industry has increased up to 37.9% in 2019. Musicals

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8

Bondarenko, Andrii. "Musical As Intonation Practice." Bulletin of Kyiv National University of Culture and Arts. Series in Arts, no. 46 (May 22, 2022): 78–86. https://doi.org/10.31866/2410-1176.46.2022.258619.

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The purpose of the article is to identify the musical genre features and its development prospects in Ukraine in terms of intonation practices. Methods. The article is based on a comprehensive analysis of the temporal and spatial characteristics of the musical language used in musicals, which allows determining the nature of the intonation practices involved, identifying what is common and what is different in works of this genre. Results. The article analyses the characteristic musical language features of early film musicals of the USA and the UK, early musicals of the USSR and musicals of U

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9

Song, Linlu. "On the Feasibility of Using the Business Model of Broadway Musicals in Chinese Musicals." Highlights in Business, Economics and Management 40 (September 1, 2024): 957–61. http://dx.doi.org/10.54097/q88w4h15.

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The purpose of this paper is to explore the perfection of the business model of Broadway musicals by analyzing the phenomenon of profit growth after the epidemic in recent years, as well as the advantages of its production process. The analysis of the Broadway business model will assist the readers in learning the essential instruments of making a musical famous around the world. Meanwhile, it focuses on exploring the feasibility of applying the business model of Broadway musicals to Chinese musicals. The conclusion drawn from the research is that the Broadway model can be applied to Chinese m

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10

Duan, Shuyu, Youlin Li, and Ruiyan Wang. "Analyzing the Development Prospects of Song and Dance Drama Art and Integrated Media from The Greatest Showman." Communications in Humanities Research 14, no. 1 (2023): 314–21. http://dx.doi.org/10.54254/2753-7064/14/20230510.

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As a Hollywood musical film released at the end of 2017, The Greatest Showman has earned more than 400 million dollars at the box office worldwide with its outstanding original songs and dance elements. It is a Hollywood musical film with a relatively good box office performance in recent years. Global research on musical drama has increased dramatically in recent decades, gradually forming a complete research system. However, it has not yet attracted enough attention in terms of artistic creation techniques of musicals. This article intends to analyze three aspects: the overall research of gl

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11

Belymenko, Liliana. "Children's Musicals on the Stage of Modern Musical and Music and Drama Theatres in Ukraine." Bulletin of KNUKiM. Series in Arts, no. 47 (December 26, 2022): 110–16. https://doi.org/10.31866/2410-1176.47.2022.269609.

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The purpose of the article is to reveal the peculiarities of children’s musical productions on the stages of Ukrainian musical and music and drama theaters in dramaturgical, artistic-aesthetic, stylistic, and directing-production aspects. Research methodology. The systematic method (for researching the children’s musicals as an independent genre), the comparative method, the method of art history, and genre-style analysis (to identify the features of the domestic children’s musical development and the specific features of its productions on the stages of musical and

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12

Jung, Chang Joo. "Reinterpretation of Bible Stories and Theological Communication through Musicals." Global Association of Applied Liberal Arts Studies 3, no. 1 (2025): 85–103. https://doi.org/10.58990/galas.2025.3.1.85.

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Musical theater has become a significant medium for expressing Christian faith and communicating biblical messages in contemporary society. By integrating music, acting, and dance, musicals provide an emotionally immersive experience that allows audiences to connect deeply with biblical narratives. Unlike traditional methods of teaching or preaching, musicals use storytelling, visual effects, and dynamic performances to engage audiences on a personal and emotional level. This study delves into the historical relationship between Christianity and performance arts, focusing on the evolution of m

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13

Cherry, James M. "The Musical of Musicals (The Musical!) (review)." Theatre Journal 56, no. 4 (2004): 705–6. http://dx.doi.org/10.1353/tj.2004.0156.

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14

Yang, Wenjing. "On the Translation of English Musical Songs from the Perspective of Skopos Theory." Studies in English Language Teaching 12, no. 2 (2024): p190. http://dx.doi.org/10.22158/selt.v12n2p190.

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With the increased frequency intercultural communication, western musicals have been introduced into China and become a popular entertainment of the Chinese people. Some musicals will be dubbed in Chinese version for performance, so that the audience can enjoy the plots and songs more deeply. However, the different historical origins, social customs and religious cultures have formed specific cultural backgrounds, which in turn have formed different ways of thinking, values and pragmatic rules. All these factors have become obstacles in the translation of English musicals. As the main content

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15

Plemenitaš, Katja. "Songs as Elements in the Generic Structure of Film Musicals." ELOPE: English Language Overseas Perspectives and Enquiries 13, no. 1 (2016): 31–38. http://dx.doi.org/10.4312/elope.13.1.31-38.

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The paper focuses on the description of film musicals as a subgenre of the genre family of musicals. Their dramatic structure is examined in terms of the generic elements that constitute the progression of a story expressed through the combination of spoken dialogue, songs and dance. The function of songs in the generic structure of film musicals is examined in the framework of the systemic-functional theory of register and genre. Special attention is given to the role of songs in the unfolding of the narrative. The theoretical observations about the role of songs in the register and genre of

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16

Lundy, Ben. "Fifty Key Stage Musicals." Musical Theatre Educators Alliance Journal 5, no. 2024 (2024): 116–17. http://dx.doi.org/10.62392/kwet5572.

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In a post-pandemic climate, how might we, as instructors, challenge our students to infuse their knowledge of musical theatre history into their craft? Fifty Key Stage Musicals, edited by Robert W. Schneider and Shannon Agnew, is a refreshing musical theatre history text that illustrates Broadway’s changing tides while focusing on fifty innovative musicals...

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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.

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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

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Fu, Linzi, and Kyunghoon Han. "A Study of Localization in the Stage Art of the Chinese Reimagined Musical <Fan Letter>." Korean Society of Culture and Convergence 45, no. 8 (2023): 1197–210. http://dx.doi.org/10.33645/cnc.2023.08.45.08.1197.

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The purpose of this study is to select “Fan Letter” as a representative work of the localization process of Chinese musicals; to identify the localization situation and success factors of the work from three aspects of stage design, costume design, and lighting design by referring to articles, monographs, musical videos, stage design manuscripts, costume design manuscripts, and other materials related to Chinese localized musicals; to analyze the impact of the integration of localized aesthetics and stage art on the overall performance of the musical; and to draw implications for the stage art

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Rakhymberdiyeva, S., and G. Dzhumaseitova. "«ASTANA MUSICAL» THEATER: THE INFLUENCE OF WESTERN TRADITIONS ON THE FORMATION OF A PROFESSIONAL NATIONAL MUSICAL." POLISH JOURNAL OF SCIENCE, no. 51 (June 16, 2022): 3–6. https://doi.org/10.5281/zenodo.6651019.

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The article reveals the significance of productions of French musicals on the stage of the «Astana musical» Theater. Using the example of the musicals «Notre Dame de Paris» and «Romeo and Juliet», the author examines the prospects for further development of the musical genre in the theatrical space of Kazakhstan.

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20

BOMBOLA, GINA. "FromThere's Magic in MusictoThe Hard-Boiled Canary: Promoting “Good Music” in Prewar Musical Films." Journal of the Society for American Music 12, no. 2 (2018): 151–78. http://dx.doi.org/10.1017/s1752196318000068.

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AbstractIn 1941, Paramount releasedThere's Magic in Music, a film about a soprano who sings opera in burlesque and wins a scholarship to attend Interlochen. The movie's utopian view of art music, however, caused difficulties for the studio in regard to marketing, leading to a studio-wide debate over the film's title. Archival documents positionThere's Magic in Musicas a valuable case study for investigating the transitional period of musical film production between the Great Depression and the onset of World War II, particularly with respect to operatic musicals. Just prior to the United State

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21

Rigopoulou, Faye. "Still Here? Aging Female Vocalities in Musical Theatre." IASPM Journal 14, no. 1 (2024): 113–33. http://dx.doi.org/10.5429/2079-3871(2024)v14i1.8en.

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Musical theatre has a complex relationship with ageing (and especially female ageing). As youth has always been at the forefront of musicals, essentialist approaches to ageing in articulation and enactment of ageing musical characters often lead to aesthetic peripheries and creative stagnation. Aiming for a deeper understanding of how female ageing vocalities are perceived, dramaturged and performed in musical theatre, the article takes under consideration viewpoints from ‘outsiders’/ageing performers who work ‘at the centre’ of the musical theatre industry (West End and Broadway).Through a cl

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22

Zhang, Xiaoyu. "On the Subtitle Translation of Musical Lyrics from the Perspective of Domestication and Foreignization: A Case Study of Classic Musical Theatre Cats." Communications in Humanities Research 15, no. 1 (2023): 204–9. http://dx.doi.org/10.54254/2753-7064/15/20230701.

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With various art gradually spreading all over the world, excellent musicals bearing the multicultural features have also entered into the public life. Translation as an important tool in transcultural communication, is indispensable in the expression and spreading of such art. For musicals that are played on the screen, given the unique features of the genre and the rules of subtitling, the translation of musicals requires delicate processing and special effort. This paper discussed the importance of musical translation and subtitle translation in the peoples modern life. With the focus on the

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23

Calderón Garrido, Diego, Josep Gustems Carnicer, and Caterina Calderón Garrido. "Les colònies musicals: una oportunitat per al desenvolupament competencial." Comunicació educativa, no. 28 (February 22, 2016): 26. http://dx.doi.org/10.17345/comeduc201526-30.

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<p class="p1">Les colònies musicals són una proposta educativa amb identitat pròpia que combina l’educació musical amb la pedagogia de l’oci. En aquest article es descriuen les característiques de les colònies musicals actuals i s’assenyalen les diverses competències que s’hi desenvolupen.</p>

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

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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

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25

Anderson, Natasha. "Narrative and Number in Busby Berkeley’s Footlight Parade." MUSIC.OLOGY.ECA 1 (September 11, 2020): 40–59. http://dx.doi.org/10.2218/music.2020.5697.

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The backstage film musical was a successful genre of the brief ‘Pre-Code’ era of American film history (1929-1934), in which audiences witnessed the inner workings of a theatre studio and watched the creation and performance of a musical production unfold. This essay focusses on one of these film musicals, Footlight Parade, and examines its key musical numbers: ‘Honeymoon Hotel’, ‘By a Waterfall’ and ‘Shanghai Lil’. Using these examples, the article analyses the relationship between musical number and film narrative, while relating the film to wider issues surrounding musicals in the ‘Pre-Code

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Whitfield, Sarah K. "Disrupting Heteronormative Temporality through Queer Dramaturgies: Fun Home, Hadestown and A Strange Loop." Arts 9, no. 2 (2020): 69. http://dx.doi.org/10.3390/arts9020069.

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This article considers how André De Shields performance in Hadestown (2019), and the musicals Fun Home (2015) and A Strange Loop (2019) can be seen to respond to the present moment and argues that they disrupt heteronormative temporality through queer dramaturgy. It explores musicals that present queer performativity and/or queer dramaturgies, and addresses how they enact queer strategies of resistance through historical materialist critiques of personal biographies. It suggests that to do this, they disrupt the heteronormative dramaturgical time of the musical, and considers how they may enac

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Mateo, Marta. "Sunset Boulevard in Spanish Performance: Translations on the Musical Stage." Revista Alicantina de Estudios Ingleses, no. 37 (July 27, 2022): 81. http://dx.doi.org/10.14198/raei.2022.37.03.

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This article focuses on Andrew Lloyd Webber’s musical Sunset Boulevard (1993), in order to present some relevant aspects of the production and reception of musicals both in an original and a target context. The study will first describe the eventful creative process of this musical text in its Anglophone source contexts, and will then move on to examine it from the perspective of its performance in Spanish translation. Recently translated for a Spanish-language production staged in Tenerife in 2017 (soon followed by another one in Argentina in 2018), Sunset Boulevard is a good example of the p

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Sung Hee Kirk. "Translated Musicals and Musical Translation in Korea." Journal of Translation Studies 9, no. 1 (2008): 283–309. http://dx.doi.org/10.15749/jts.2008.9.1.011.

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29

Feng, Zimo. "Analysis of the Business Model of Chinese Musical Theater Based on Community Economy." Journal of Applied Economics and Policy Studies 12, no. 1 (2024): 77–82. http://dx.doi.org/10.54254/2977-5701/12/2024114.

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In recent years, the Chinese musical theater industry has developed rapidly, becoming an important component of the cultural industry. Compared to traditional musical theater production and distribution methods, the community economy offers a new business model for Chinese musicals. This paper aims to explore how the community economy, combined with self-media platforms, supports the promotion and profitability of Chinese musicals. It analyzes the factors behind its success, the challenges it faces, and its future development prospects. Through an in-depth analysis of the existing business mod

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McClane, Kenneth A. "Musicals." Antioch Review 63, no. 4 (2005): 674. http://dx.doi.org/10.2307/4614888.

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Knapp, Raymond, and Zelda Knapp. "Musicals and the envoicing of mental illness and madness: From Lady in the Dark to Man of La Mancha (and beyond)." Journal of Interdisciplinary Voice Studies 4, no. 2 (2019): 209–23. http://dx.doi.org/10.1386/jivs_00006_1.

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Abstract Because musicals routinely position musical expression as an enabling form of madness, they can have a difficult time when they try to consider mental illness in thoughtful ways. This essay considers four prominent musicals that deal overtly with mental illness and/or madness to delineate these difficulties and show how musicals try to surmount them. The relatively few musical numbers in Lady in the Dark (1941) allow its protagonist Liza Elliott to both confront her mental block and give voice to her emancipation. In Anyone Can Whistle (1964), Hapgood's ambiguous mental status allows

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Cuskey, Lusie. "Consent Based Considerations for the Musical Theatre." Journal of Consent-Based Performance 1, no. 2 (2022): 137–67. http://dx.doi.org/10.46787/jcbp.v1i2.2873.

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Musicals have always tended to center romantic relationships, engaging these relationships both as a plot in their own right and, often, as a metaphor for broader social considerations. Despite a historical understanding of the form as light, many contemporary musicals engage explicit sexual content, and the formal conventions of all musicals means that even non-sexual content may feel particularly intimate for performers. Musical theatre is a field that expects high levels of vulnerability and availability, but it also tends to magnify the broader industry’s challenges of scarcity thinking an

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Linert, Andrzej. "Musicale i komedie muzyczne w latach dyrekcji Witolda Mazurkiewicza w Teatrze Polskim w Bielsku-Białej (2013–2023)." Zarządzanie w Kulturze 25, no. 1-2 (2024): 213–26. http://dx.doi.org/10.4467/20843976zk.24.021.20139.

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The author described the dominant trend of musical shows in the repertoire of the Polish Theatre in Bielsko-Biała during the years of Witold Mazurkiewicz’s management. Three musicals and several comedies staged between 2013 and 2023 were analyzed. These included Zorba by Joseph Stein, Fred Ebb and John Kander directed by Mazurkiewicz, Sześć wcieleń Jana Piszczyka by Jerzy Stefan Stawiński adapted and directed by Wojciech Kościelniak and Człowiek z La Manchy by Dale Wasserman with music by Mitch Leigh directed by Mazurkiewicz. For the first time, the presence of musicals in a regional theatre w

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Tsai, Terence, and Shubo Liu. "Mamma Mia! Made in China — Challenges in Developing the Musical Industry." Asian Case Research Journal 19, no. 02 (2015): 419–42. http://dx.doi.org/10.1142/s0218927515500157.

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This case is about how United Asia Live Entertainment Co. Ltd. (United Asia), a real Chinese production and marketing company and a commercial arm of the Ministry of Culture, localized a popular global product, Mamma Mia!, to compete with other international and local firms during the period when the Government was pushing the reform of the cultural industry. Mamma Mia! is the first-ever Western musical without roots in the Chinese culture, being presented in Chinese (Mandarin) by an entire Chinese cast in China. United Asia staged the translated version with the creative team of the original

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Li, Jian, and Yu Hu. "How does the audience return to the music theater? Exploring the influence of musical theater adaptation of Chinese nursery rhymes." PLOS One 20, no. 5 (2025): e0321689. https://doi.org/10.1371/journal.pone.0321689.

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Musicals, as an art form, are attracting greater attention in China’s increasingly competitive market. In particular, the adaptation of Chinese nursery rhymes in musicals and its influence on audience affective reactions and behavioral intentions has emerged as a notable research focus. This study aims to explore the impact of nursery rhyme adaptations in musicals on audience interaction, affective reactions, satisfaction, and repurchase intention. Using questionnaire surveys and structural equation modeling, we empirically analyse how audience interaction and affective reactions in these musi

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Carr, Tracy. "Book Review: The Complete Book of 2000s Broadway Musicals." Reference & User Services Quarterly 57, no. 2 (2017): 154. http://dx.doi.org/10.5860/rusq.57.2.6547.

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The Complete Book of 2000s Broadway Musicals is arranged by year and lists each Broadway musical chronologically. The introduction states that the purpose of the work is to “provide a convenient reference source that gives both technical information (such as cast and song lists) and commentary (including obscure details that personalize both familiar and forgotten musicals” (xi). As in Dietz’s other volumes in this series, the reader comes for the technical information, but stays for the commentary.

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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 (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 th

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Xu, Yexiaxin. "Social Media Marketing Strategy in Chinese Musical Theatre Industry." Communication, Society and Media 6, no. 4 (2023): p15. http://dx.doi.org/10.22158/csm.v6n4p15.

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The usage of social media in the context of musical theatre marketing continues to grow. More and more musical theatre production companies in China are using social media tools such as Weibo to provide various services and interact with customers. In an effort to help understand how the current musical theatre industry conducts social media marketing and the future development direction, this paper describes a case study which applies content analysis to examined posts on Weibo sites of five top musical theatre production companies: Seven Ages, Shanghai Culture Square, Musicals, Focustage, an

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Gregori i Cifré, Josep Maria. "IFMuC: un proyecto universitario para la recuperación del Patrimonio Musical de Catalunya." Cuadernos de Investigación Musical, no. 1 (March 20, 2017): 12–26. http://dx.doi.org/10.18239/invesmusic_2016.01.1306.

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Este artículo se centra en reflejar la trayectoria de la recuperación del patrimonio musical de Catalunya, estudiando en primer los antecedentes desde el siglo XIX hasta la creación, ya en el siglo XX, del Centre de Documentació Musical (CDM) y del Institut de Documentació i d’Investigació Musicològiques Josep Ricart i Matas (IDIM), ambos organismos promovidos desde la Universidad Autónoma de Barcelona (UAB). Ello sirve para comprender la necesidad y motivación del proyecto IFMuC (Inventari dels Fons Musicals de Catalunya), creado asimismo en el seno de la UAB con el objetivo principal de crea

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Gray, John, and Robert Nunn. "Local Boy Makes Good: Three Musicals." Canadian Theatre Review 61 (December 1989): 82. http://dx.doi.org/10.3138/ctr.61.016.

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Make no mistake about it : these are musicals. In John Gray’s fascinating introduction to the collection, he proposes a theory of the Canadian musical, based on his experience that Canadian audiences behaved like uncomfortable eavesdroppers, “their hands covering their eyes,” when the actors observe the invisible fourthwall conventions of naturalism, and come to life when the perforrrance is openly presentational. Hence the attraction of the musical, in which the songs are alredy presentational, and exert a kind of gravitational pull if you ignore the conventions of the standard Broadway music

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Martí, Josep. "Música i festa: Algunes reflexions sobre les pràctiques musicals i la seva dimensió festiva." Anuario Musical, no. 57 (December 30, 2002): 277. http://dx.doi.org/10.3989/anuariomusical.2002.57.92.

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[ca] En aquest article es tracta la relació entre les practiques musicals i la festa. Després de delimitar la idea de festa des d'una perspectiva antropològica, es delineen els principals tipus de manifestacions musicals talment com apareixen a les celebracions festives i s'intenta explicar la rellevància del fet musical en l'àmbit festiu a partir principalment de la estreta complicitat de la música amb les quatre constants que Vittorio Lanternari va formular per entendre la festa: sociabilitat, participació, ritualitat i l'anul•lació temporal i simbòlica de l'ordre.

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Hornby, Richard. "Musicals Revived." Hudson Review 45, no. 3 (1992): 452. http://dx.doi.org/10.2307/3851755.

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Friedman, Alan Warren. "Beckett's Musicals." Études anglaises 59, no. 1 (2006): 47. http://dx.doi.org/10.3917/etan.591.0047.

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Salzman, E. "Reading Musicals." Theater 33, no. 1 (2003): 92–96. http://dx.doi.org/10.1215/01610775-33-1-92.

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Das, Joanna Dee, and Ryan Donovan. "Special Issue: Dance in musical theatre." Studies in Musical Theatre 13, no. 1 (2019): 3–7. http://dx.doi.org/10.1386/smt.13.1.3_2.

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This special issue of Studies in Musical Theatre examines the role of dance in musical theatre from a variety of perspectives. Given the scholarly turn from textual analysis to performance analysis, even studying musicals without extensive dance per se can benefit from understanding how movement shapes meaning. The introduction below explains some key themes that have emerged in the six articles that follow. One is the question of genre: what exactly is musical theatre dance? Another is auteurship: what is the role of the choreographer in shaping musicals? A third is technology, which reminds

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Park, Moon Hee. "The Definition of Concept and the Role of the Audience in Concept Musicals." Liberal Arts Innovation Center 9 (May 30, 2022): 259–82. http://dx.doi.org/10.54698/kl.2022.9.259.

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The purpose of this paper is to define the term ‘concept’ as it is used in conceptual musicals and to investigate what the role of the audience is. So far, there have been efforts by several scholars to define the concept of concept musicals; however, existing definitions are limited to the subject or focus on form, making it difficult to understand the concept musicals properly. Further, because the meaning and relationship of the attributes that make up the concept are not clear, definitions are bound to suffer confusion. The concept musical’ must create a new form to embody the theme

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Clarke, Kevin. "Musicals, operettas and Heiteres Musiktheater in East Germany 1949‐89." Studies in Musical Theatre 16, no. 1 (2022): 21–51. http://dx.doi.org/10.1386/smt_00084_1.

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This article examines the development of operetta and musicals in East and West Germany from 1949 until the reunification in 1989‐90. It focuses on the special ideological requirements of popular musical entertainment in the socialist east, discusses how works by Offenbach and Strauss were adapted, considers how works from the Soviet Union were imported and examines how new works were created to fulfil the ideal of ‘socialist realism’. The arrival of Broadway musicals in East Germany in the 1960s were typically made to fit into the system of state subsidized theatre.

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Huang, Cuiqing, and Qiang Zhang. "Research on Music Emotion Recognition Model of Deep Learning Based on Musical Stage Effect." Scientific Programming 2021 (October 26, 2021): 1–10. http://dx.doi.org/10.1155/2021/3807666.

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The change of life style of the times has also prompted the reform of many art forms (including musicals). Nowadays, the audience can not only enjoy the wonderful performances of offline musicals but also feel the charm of musicals online. However, how to bring the emotional integrity of musicals to the audience is a technical problem. In this paper, the deep learning music emotion recognition model based on musical stage effect is studied. Firstly, there is little difference between the emotional results identified by the CRNN model test and the actual feelings of people, and the coincidence

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Sun, Wenxuan, Yujin Jang, and Seong-Joon Limb. "A study on paid online musical consumer viewing behavior - Based on the Extended Theory of Planned Behavior." Korea Association Of Cultural Economics 27, no. 1 (2024): 39–71. http://dx.doi.org/10.36234/kace.2024.27.1.39.

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This research aimed to investigate the viewing behavior of paying online musical consumers based on the Extended Theory of Planned Behavior. To achieve this, we initially analyzed the impact of the variables comprising the Theory of Planned Behavior model, including attitude toward attendance, subjective norms, and perceived behavioral control, on the intention to attend. Subsequently, we examined the influence of the selection attributes of paid online musicals (visual factor, interactive factor, price factor, promotional marketing factor) on viewers' attitudes toward attendance. Results reve

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Jung, Jiyoon. "The right to see and not be seen: South Korean musicals and young feminist activism." Studies in Musical Theatre 14, no. 1 (2020): 37–50. http://dx.doi.org/10.1386/smt_00017_1.

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In South Korea, musicals are considered as ‘female culture’. Based on recent fieldwork, this essay gives attention to the ways in which female fans project themselves in three common spaces: in dark theatre auditoriums, online fan forums and feminist protests. In each of the three spaces, female musical fans nurture and enact their own version of feminism. I employ the discourse of ‘voyeurism’ and ‘half-visibility’ to understand how young South Korean women navigate patriarchal capitalist society. I ultimately argue that today’s South Korean musicals empower young South Korean women by providi

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