(Vocal Collection). This series features 50 songs from dozens of shows, some that have never before appeared in any vocal collections. This 3rd edition includes songs from A Gentleman's Guide to Love & Murder; Hairspray; Hamilton; Kinky Boots; Moana; Natasha, Pierre & The Great Comet of 1812; Waitress: The Musical; Wicked; and many more.
This volume brings together a group of leading international researchers and practitioners in voice pedagogy alongside emerging academics and practitioners. Encompassing research across voice science and pedagogy, this innovative collection transcends genre boundaries and provides new knowledge about vocal styles and approaches from classical and musical theatre to contemporary commercial music. The work is sure to be valuable in tertiary institutions, schools and community music associations, suitable for use by private studio teachers, and will appeal to choral leaders and music educators interested in vocal pedagogy. “I thoroughly enjoyed reading this book and I am confident it will help bring all aspects of vocal pedagogy firmly into the 21st century. Refreshingly, many different areas of pedagogy are included in the text so we can all work together to more fully understand the singing voice. Up to the moment research is included along with an exploration of the evolving contemporary styles of singing. Further, areas regarding teaching and curriculum in higher education are also reviewed. All in all, this text a crucial addition to a professional's vocal library.” Jeanne Goffi-Fynn, Teachers College, Columbia University, USA.
Beginning Musical Theatre Dance introduces students to basic musical theatre dance techniques from a variety of genres, forms, and styles and explains how to put them into practice for performance on stage. Part of Human Kinetics’ Interactive Dance Series, the text and web resource offer students what they need to know about auditions, rehearsals, performing, and caring for themselves so they can have a successful experience in a musical theatre dance course. Designed for students enrolled in introductory musical theatre dance courses, the text contains photos and descriptions of basic warm-up exercises, center work, steps from a variety of dance genres used in musical theatre dance, partnering, and lifts. For those new to dance, the text provides an orientation to the structure of a musical theatre dance class and includes information on meeting class expectations, dressing appropriately, preparing mentally and physically, maintaining proper nutrition and hydration, and avoiding injury. The accompanying web resource presents more than 60 instructional video clips to help students practice and review musical theatre dance forms, techniques, and adaptations. A glossary builds students’ fluency in the vocabulary of musical theatre dance terminology, adaptations of steps, and styles. Each chapter contains learning features to support students’ knowledge, including experiences, e-journal assignments, web links, and interactive quizzes. To dance on the musical theatre stage, students need to know how the world of musical theatre works; the expectations they must meet; and how to audition, rehearse, perform, and care for themselves. Beginning Musical Theatre Dance will arm them with the practical information as well as the historical background they need for success. Beginning Musical Theatre Dance is part of Human Kinetics’ Interactive Dance Series. The series incudes resources for ballet, tap, modern dance, and jazz that support introductory technique courses taught through dance, physical education, and fine arts departments. Each student-friendly text includes a web resource offering video clips of dance instruction, learning aids, assignments, and activities. The Interactive Dance Series offers students a guide to learning, performing, and viewing dance.
What is it about musical theatre that audiences find entertaining? What are the features that lead to its ability to stimulate emotional attachment, to move and to give pleasure? Beginning from the passion musical theatre performances arouse and their ubiquity in London's West End and on Broadway this book explores the ways in which musical theatre reaches out to and involves its audiences. It investigates how pleasure is stimulated by vocal, musical and spectacular performances. Early discussions centre on the construction of the composed text, but then attention is given to performance and audience response. Musical theatre contains disruptions and dissonances in its multiple texts, it allows gaps for audiences to read playfully. This combines with the voluptuous sensations of embodied emotion, contagiously and viscerally shared between audience and stage, and augmented through the presence of voice and music. A number of features are discovered in the construction of musical theatre performance texts that allow them to engage the intense emotional attachment of their audiences and so achieve enormous popularity. In doing this, the book challenges the conception of musical theatre as 'only entertainment'. Entertainment instead becomes a desirable, ephemeral and playful concept.
This book surveys emerging music and education landscapes to present a sampling of the promising practices of music teacher education that may serve as new models for the 21st century. Contributors explore the delicate balance between curriculum and pedagogy, the power structures that influence music education at all levels, the role of contemporary musical practices in teacher education, and the communication challenges that surround institutional change. Models of programs that feature in-school, out-of-school and beyond school contexts, lifespan learning perspectives, active juxtapositions of formal and informal approaches to teaching and learning, student-driven project-based fieldwork, and the purposeful employment of technology and digital media as platforms for authentic music engagement within a contemporary participatory culture are all offered as springboards for innovative practice.
Twenty-First Century Musicals stakes a place for the musical in today’s cinematic landscape, taking a look at leading contemporary shows from their stage origins to their big-screen adaptations. Each chapter offers a new perspective on a single musical, challenging populist narratives and exploring underlying narratives and sub-texts in depth. Themes of national identity; race, class and gender; the ‘voice’ and ‘singing live’ on film; authenticity; camp sensibilities; and the celebration of failure are addressed in a series of questions including: How does the film adaptation provide a different viewing experience from the stage version? What themes are highlighted in the film adaptation? What does the new casting bring to the work? Do camera angles dictate a different reading from the stage version? What is lost/gained in the process of adaptation to film? Re-interpreting the contemporary film musical as a compelling art form, Twenty-First Century Musicals is a must-read for any student or scholar keen to broaden their understanding of musical performance.
From Adelaide in "Guys and Dolls" to Nina in "In the Heights" and Elphaba in "Wicked," female characters in Broadway musicals have belted and crooned their way into the American psyche. In this lively book, Stacy Wolf illuminates the women of American musical theatre - performers, creators, and characters -- from the start of the cold war to the present day, creating a new, feminist history of the genre. Moving from decade to decade, Wolf first highlights the assumptions that circulated about gender and sexuality at the time. She then looks at the leading musicals to stress the key aspects of the plays as they relate to women, and often finds overlooked moments of empowerment for female audience members. The musicals discussed here are among the most beloved in the canon--"West Side Story," "Cabaret," "A Chorus Line," "Phantom of the Opera," and many others--with special emphasis on the blockbuster "Wicked." Along the way, Wolf demonstrates how the musical since the mid-1940s has actually been dominated by women--women onstage, women in the wings, and women offstage as spectators and fans.