Bibliografías temáticas / Musical theater x History

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Literatura académica sobre el tema "Musical theater x History"

Autor: Grafiati
Publicado: 27 de julio de 2024
Última modificación: 31 de julio de 2025

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Artículos de revistas sobre el tema "Musical theater x History"

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Gagnon, Donald P. "Our Musicals, Ourselves: A Social History of the American Musical Theatre." Journal of Popular Culture 39, no. 1 (2006): 162–64. http://dx.doi.org/10.1111/j.1540-5931.2006.00214.x.

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Goldstein, Sam. "Our Musicals, Ourselves-A Social History of the American Musical Theatre." Journal of American Culture 27, no. 1 (2004): 126–28. http://dx.doi.org/10.1111/j.1537-4726.2004.121_21.x.

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Li, Qiang. "Peculiarities of the mutual influence of Italian and Chinese musical theater tradition in historical development." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 67, no. 67 (2023): 56–77. http://dx.doi.org/10.34064/khnum1-67.04.

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Statement of the problem. Modern opera performance art in China is closely related to the national theater tradition, which has a thousand-year history. Despite the fact that Italian (and generally European) musical and dramatic art has been known in China for more than a few century, the public did not perceive it for a long time due to significant differences in many aspects: from stage dramaturgy, vocal roles to behavioral norms in the theater institutions. This study draws historical parallels between Italian opera and national Chinese music-theatre art and examines attempts to adapt Itali
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Wolf, Stacy. "The Cambridge Companion to the Musical. Edited by William A. Everett and Paul R. Laird. Cambridge: Cambridge University Press, 2002; pp. xvii + 310 + 18 illus. $65 cloth, $23 paper; Boy Loses Girl: Broadway's Librettists. By Thomas S. Hischak. Lanham, MD: Scarecrow Press, 2002; pp. x + 277. $39.95 cloth." Theatre Survey 45, no. 1 (2004): 129–31. http://dx.doi.org/10.1017/s0040557404270089.

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“Those who created this book, and many of its readers, think of the musical as art,” write Everett and Laird in their preface to The Cambridge Companion to the Musical (xv). Indeed, many of us who study or teach musical theatre feel the need to defend it as a viable artistic form worthy of scholarly examination. Both of these books demonstrate the musical's importance in cultural history and amply illustrate the artistry of its production.
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Radu-Țaga, Consuela. "13. The Systematic of the Characters from the Opera a Stormy Night by Paul Constantinescu." Review of Artistic Education 19, no. 1 (2020): 100–109. http://dx.doi.org/10.2478/rae-2020-0013.

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AbstractIn the history of the Romanian musical theatre the comic opera A Stormy Night written by Paul Constantinescu set up the buffa style. All along the two acts carried out in approximately 50 minutes you can hear Romanian folklore resonances, with Anton Pann echoes, as the 7 characters from the opera live in the Bucharest of the 19th century. The leitmotif technique is at the basis of the musical story, 9 melodious-rhythmic configurations getting detached. The musical discourse of the singers is entirely subordinated to the text, and the ample breath appeals to the recitative singing, whic
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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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Krom, Anna E. "David Lang’s Postminimalist Musical Theater." Vestnik of Saint Petersburg University. Arts 12, no. 3 (2022): 432–48. http://dx.doi.org/10.21638/spbu15.2022.302.

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The article explores issues of the American musical theater of the nineteenth century, fruitfully developing on the basis of postminimalism. Among the brightest representatives of this style is the composer David Lang (1957), a member of the group “Bang on a Can”. His theatrical projects of the last two decades demonstrate a new phase in the development of postminimalist theater, the foundation of which was laid by his older contemporaries, Philip Glass, Steve Reich, and John Adams. Using the example of stage works — “The Difficulty of Crossing a Field” (2002), “Prisoner of the State” (2019),
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Wolf, S. "Showtime: A History of the Broadway Musical Theater." Journal of American History 98, no. 3 (2011): 917–18. http://dx.doi.org/10.1093/jahist/jar364.

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Udina, Vera I. "The metamorphoses of musical theater in the culture of pre-revolutionary Russian province." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 46 (2022): 224–36. http://dx.doi.org/10.17223/22220836/46/19.

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Article is devoted to system characteristic of the musical theater in the context of the culture of the pre-revolutionary Russian province. On the example of the opera genre top trends of historical development of provincial theater of Russia throughout XVIII - the beginnings of the 20th centuries are analyzed: the periodization of musical and theatrical process in the province, the social, cultural and historical conditionality of this process. According to the selected stages change of genre musical and scenic dominants (the early comic opera, the vaudeville, the operetta, the Russian and Eu
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Henson, Karen. "Verdi versus Victor Maurel on Falstaff: Twelve New Verdi Letters and Other Operatic and Musical Theater Sources." 19th-Century Music 31, no. 2 (2007): 113–30. http://dx.doi.org/10.1525/ncm.2007.31.2.113.

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This article introduces twelve new Verdi letters and other operatic and musical theater sources in the Yale Collection of Historical Sound Recordings. The materials hail from the French baritone Victor Maurel (1848-1923), Verdi's first Iago and first Falstaff, and from his second wife, the musical theater librettist and screenwriter Frederique Rosine de Gresac (1866/7-1943). The letters and other sources constitute an important resource for not only nineteenth-century opera and operatic performance but also the early American musical, film studies, the history of women, even the history of cel
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Tesis sobre el tema "Musical theater x History"

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Miller, Lorin. "From monody to modernity| An examination of the connection between early Baroque opera and contemporary musical theatre." Thesis, California State University, Dominguez Hills, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1525619.

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<p> Monody in musical dramatic presentations emanates from an early Baroque opera genesis and exists in multiple forms in the musical theater of today. By examining the Baroque characteristics of monody within the opera genre, a direct comparison between Monteverdi's opera <i>Orfeo</i> (1607) and Sch&ouml;nberg's musical <i>Les Miserables</i> (1985) can be established. This correlation becomes pronounced upon the exploration of four specific examples: through the implementation of recitative and aria, the interdependent use of duet and chorus with the solo voice, the innovative incorporation o
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Kerns, Nancy Jane. "Gretchen Cryer and Nancy Ford| Elevating the Female Voice in American Musical Theater." Thesis, University of Hawai'i at Manoa, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=13421232.

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<p> Gretchen Cryer and Nancy Ford, along with most other female creators of musicals, remain in the shadows, in spite of an increased focus by the media on women&rsquo;s contributions to society. The messages of Cryer and Ford&rsquo;s dramatic themes and songs have not been fully understood by many critics and audience members. Scholarly and popular writings on women in theater remain scarce, and literature on Cryer and Ford contains errors and promotes misunderstandings. </p><p> In this thesis, I argue that Gretchen Cryer and Nancy Ford, a writer and composer of musical theater respectively
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Petropulos, Elizabeth-Hannah. "Musical game-changers through history and how we listen with our eyes." Thesis, Kansas State University, 2017. http://hdl.handle.net/2097/38263.

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Master of Music<br>School of Music, Theatre, and Dance<br>Patricia Thompson<br>This thesis will examine musical game changers in a chronological order. It will discuss how composers have redefined the face of their musical genre and comment on how the past of music affects the future of music. In addition, the following contents will make a case for the idea that individuals listen with their eyes. I will examine the effect that costumes and their design have on both the audience and the performers. The sixty minutes Masters Recital that is the basis of this thesis will consist works by the fo
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Katzke, Marlie. "Die ontwikkeling en huidige aard van musiekblyspele in Suid-Afrika." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/95851.

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Thesis (MDram)--Stellenbosch University, 2014.<br>ENGLISH ABSTRACT: The musical is one of the many forms of musical theatre and consists of certain qualities that define the genre. This form developed out of various genres en there are many approaches and definitions for the musical.This study investigates the nature and changing nature of the musical in South Africa, and it also studies the various factors that contributed and still contributes to the development of the concept musical.The economic-, socio-economic, historical- en cultural background of South Africa is used throughout the stu
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Ruozzo, Stephanie Marie. "The Legitimate Princess: Intersections of Broadway and the Little Theatre Movement in Jerome Kern's Musical Comedies." Case Western Reserve University School of Graduate Studies / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=case1591286570783829.

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Joncus, Berta. "A star is born : Kitty Clive and female representation in eighteenth-century English musical theatre." Thesis, University of Oxford, 2004. http://ora.ox.ac.uk/objects/uuid:1e03037b-89a3-4b00-a5ae-81229ccdf5c7.

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Catherine ('Kitty') Clive (1711-1785) was the most famous singer-actress of mideighteenth century London, and one of the first women whom Drury Lane managers sought to popularize specifically as a singer. Drawing on theories of star construction in cinema, this thesis explores how the public persona of Mrs Clive 'composed' the music she sang. A key ingredient in star production is the wide-ranging dissemination of the star's image. The first chapter explains how the mid-eighteenth star was produced, outlining the period equivalents to what film scholars consider the sources of modern stardom:
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Graff, Peter. "Music, Entertainment, and the Negotiation of Ethnic Identity in Cleveland’s Neighborhood Theaters, 1914–1924." Case Western Reserve University School of Graduate Studies / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=case1522858050676766.

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Sollish, David S. "Musical Theatre in the Mountains: An Examination of West Virginia Public Theatre's History, Mission, Practices, and Community Impact." Bowling Green State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1276802020.

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GRAY, FRED ALLEN. "CHILDREN'S MUSICALS, 1973-1985: ANNOTATIONS WITH SOURCEBOOK FOR PRODUCTION (DRAMA, ELEMENTARY, HISTORY, VOICE, CHORAL)." Diss., The University of Arizona, 1985. http://hdl.handle.net/10150/188089.

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The purpose of this study was to collect and annotate the musical dramas for children of elementary school age published since 1972. Musical dramas selected were limited to those having a story line rather than just a narrator and chorus, having dialogue interaction between the characters, containing mostly original music, and written for grades kindergarten through six. This document is intended as a resource for elementary school teachers and church workers who are searching for appropriate material for performance or study. Annotations of 210 musicals for children, sacred and secular, are t
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Leffner, Josephine. "BLACK CATS, BERLIN, BROADWAY AND BEYOND: CABARET HISTORY IN THE MAKING." Master's thesis, University of Central Florida, 2006. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2664.

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Cabaret as a genre has influenced and is influenced by musical theatre. As cabaret has evolved throughout history, musical theatre has often paralleled its journey. Cabaret thrived before the term "musical theatre" was coined and suffered hard times during the Golden Age of Musical Theatre. The correlation of the two genres cannot be denied, and exploring cabaret history will reveal how deeply the connection lies. My collaborator Debbie Tedrick and I will attempt to define cabaret through a two-woman cabaret show we will write, produce, and perform together. The show, Black Cats, Berlin, Broad
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Libros sobre el tema "Musical theater x History"

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Böttger, Dirk. Das musikalische Theater: Oper, Operette, Musical. Artemis & Winkler, 2002.

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Yi, Po-yŏn. Myujikʻŏl pʻoebŏ: Musical forever. Rubi Paksŭ, 2007.

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Gänzl, Kurt. The musical: A concise history. Northeastern University Press, 1997.

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Tanigawa, Michiko, and Hirokazu Akiba. Engeki intarakutivu: Nihon x Doitsu. Waseda Daigaku Shuppanbu, 2010.

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Figares, Beatriz. Una mirada a nuestro pasado musical. Ediciones Rosgal, 1997.

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Budasz, Rogério. Teatro e música na América Portuguesa: Convenções, repertório, raça, gênero e poder. DeArtes UFPR, 2008.

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Sunʹ, T︠S︡zi︠u︡anʹ. Razvitie muzykalʹnogo teatra v Kitae. Ėnt︠s︡iklopediks, 2013.

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Glikman, I. Meĭerkholʹd i muzykalʹnyĭ teatr. Vses. izd-vo "Sov. kompozitor," Leningradskoe otd-nie, 1989.

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Vergni, Daniele. Nuovo teatro musicale in Italia: 1961-1970. Bulzoni editore, 2019.

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Ramerino, Alessio. Teatro e musica. Bulzoni editore, 2015.

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Capítulos de libros sobre el tema "Musical theater x History"

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Bádue, Alex. "Crossing Over Popular and Classical Traditions through Musical Theater." In Navigating Stylistic Boundaries in the Music History Classroom. Routledge, 2024. http://dx.doi.org/10.4324/9781003415954-13.

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Galatà, Francesco. "Per la fortuna del Decameron nella letteratura di fine Ottocento: riscritture pascoliane edite e inedite." In Studi e saggi. Firenze University Press, 2022. http://dx.doi.org/10.36253/978-88-5518-668-1.09.

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Although Boccaccio’s name is rarely encountered in published works of Giovanni Pascoli (1855-1912), traces of a constant reading and reuse of the Decameron have emerged and continue to emerge from the poet’s manuscripts. The article outlines the history of the already known contacts between the two authors and adds a new document: the unknown verse drama ‘Messer Gentile’, inspired by the novella X 4. This drama, designed as a one-act play with a prologue and three scenes, has been left unfinished: only the prologue and the first scene are preserved, but it is enough to appreciate some dynamics
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Cymbron, Luísa. "BRINGING THE S. CARLOS THEATER INTO THE HOME:." In Musical History as Seen through Contemporary Eyes. Hollitzer Verlag, 2022. http://dx.doi.org/10.2307/j.ctv2gz3zgx.21.

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Feuer, Jane. "Musical Television." In The Oxford Handbook of the Hollywood Musical. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780197503423.013.31.

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Abstract This essay traces shifting definitions of theatricality through the genre of quality drama, a genre that is also televisual and cinematic. It offers readings of Smash and makes reference to Glee and the Judy Garland Show in an attempt to show the relationships between the stage and screen models of the musical. The film musicals of the 1930s used vaudeville and Broadway revues as intertexts; later musicals had earlier film musicals as the internal show. Glee had a 1963 television show within a 2011 television show. Yet the live theatrical internal show continued to thrive in theater a
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Johnson, Jake. "Re-Placing the American Musical." In Lying in the Middle. University of Illinois Press, 2021. http://dx.doi.org/10.5622/illinois/9780252043925.003.0002.

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This chapter offers an overview of musical theater’s development in America, arguing for a reassessment of New York City’s centrality in the genre’s history. Musical theater emerges out of vaudeville, blackface minstrelsy, operetta, burlesque, ethnic theater, and other theatrical forms. These influences merged urban and rural sensibilities, and this chapter shows how fluidly theatrical values exchanged among cultural outposts in the middle of the country and the eventual commercial centers of Broadway and Hollywood. Contrary to popular opinion, these commercial centers do not define the histor
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Johnson, Jake. "Exoticized Voices, Racialized Bodies." In Mormons, Musical Theater, and Belonging in America. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042515.003.0005.

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Just as Mormons used musical theater to purchase whiteness in the early twentieth century, so too do Mormons begin in the 1960s to use musical theater to associate other racial minorities with white American values. By allowing certain groups the opportunity to voice whiteness through the conventions of musical theater, Mormons reimagined the genre as a tool to transform some minority members into exemplars of whiteness. This chapter first details the history of Mormonism in Hawaii and the musical theater productions at the Mormon-owned Polynesian Cultural Center that began there in 1963. Impo
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Johnson, Jake. "Prologue." In Mormons, Musical Theater, and Belonging in America. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042515.003.0001.

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Whenever people found out I was writing a book on Mormons and musicals, the typical response was a skeptical, “Well, I know one.” To be fair, the Broadway hit Book of Mormon is nearly unavoidable and has really upped the ante in terms of Mormon representation in popular culture. Creators Trey Parker and Matt Stone brought a queer version of Mormonism to the stage in 2011 and largely, I think, showed Mormons a version of themselves they found unbelievable yet showed non-Mormons a version of Mormonism that instinctively felt true and real. Where you fall within these two camps probably has less
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Johnson, Jake. "“I’ve Heard That Voice Before”." In Mormons, Musical Theater, and Belonging in America. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042515.003.0006.

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This chapter examines the cultural shift in Mormonism beginning in 1960, a shift prompted when Mormon leaders adopted a principle called “Correlation” that was intended to streamline Mormon theology and make it easier to explain in other parts of the world. In doing so, Mormonism placed a new premium on standardization--in clothes, practice, and even voice. Problematic ideas or beliefs from early Mormonism (such as the history of polygamy or racist policies) were abandoned and institutional focus turned to a much narrower set of religious principles that branded Mormonism as a promoter of an a
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Woller, Megan. "Notions of Place, Legend, and Broadway in Monty Python’s Spamalot." In From Camelot to Spamalot. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197511022.003.0006.

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This chapter shifts to the Broadway musical Monty Python’s Spamalot (2005). As an adaptation of Monty Python and the Holy Grail, Spamalot adds numerous songs written by Eric Idle and John du Prez. These songs not only send up Arthurian legend but common musical theater tropes, augmenting the “meta” tone of the show for fans of musical theater history as well as Monty Python. Furthermore, the musical incarnation increases many of the roles from the original film and includes new characters, extending the connections to the world of Arthurian legend. The musical’s expanded pantheon of references
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Johnson, Jake. "Biblically Accurate." In Lying in the Middle. University of Illinois Press, 2021. http://dx.doi.org/10.5622/illinois/9780252043925.003.0004.

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This chapter is an ethnographic study of belief and musical theater in Branson, Missouri, an evangelical Christian resort town set in the Ozarks. A production of the original musical Samson at Sight &amp; Sound Theatres reveals the tensions between history and Biblical mythology and suggests Christians come to Branson to experience through musical theater a release from this cognitive dissonance. Drawing upon writings by Christian thinkers C.S. Lewis and Thomas Merton, this chapter shows how theater can often register as a space of willful deception--a prosocial lie--whereby belief in the othe
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Actas de conferencias sobre el tema "Musical theater x History"

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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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Postolache, Inga. "Premises of the appearance of the Romanian musical: pages of history." In International scientific conference "Valorization and preservation by digitization of the collections of academic and traditional music from the Republic of Moldova". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/ca.13.

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The musical is a genre of the musical theater of non-academic orientation, which syncretically combines literature, theater, music, dance, scenography, light design, thus creating a show for audiences of all ages. The purpose of the article is to analyze the premises of the appearance of the musical on the Romanian stage, as well as to reveal the first attempts to create the national musical.
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Krylovskaia, Izabella Ilinichna. "From the History of the Musical Theater of Russia: Basic Concepts and Terms." In All-Russian Scientific Conference with International Participation. Publishing house Sreda, 2021. http://dx.doi.org/10.31483/r-99879.

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Мир-Багирзаде, Ф. А. "Oriental symbolism of the ballet "Seven beauties" based on the poem by Nizami Ganjavi." In Современное социально-гуманитарное образование: векторы развития в год науки и технологий: материалы VI международной конференции (г. Москва, МПГУ, 22–23 апреля 2021 г.). Crossref, 2021. http://dx.doi.org/10.37492/etno.2021.91.54.086.

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автор исследует творческие интерпретации произведения поэта-гуманиста Низами Гянджеви (XII в.) из цикла «Хамсе» «Семь красавиц». Поэт, был подлинным эрудитом, знатоком не только коранических текстов, истории, античной и мусульманской философии, но и астрономии. Данная статья – попытка проследить ориентальную символику образов Гянджеви в одной из творческих интерпретаций поэмы «Семь красавиц», через призму хореографического и сценографического искусства. Метод исследования – семиотический анализ, объект исследования – балет «Семь красавиц», объединивший достижения современной европейской хореог
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