From the favorites of Tin Pan Alley to today’s international blockbusters, the stylistic range required of a musical theatre performer is expansive. Musical theatre roles require the ability to adapt to a panoply of characters and vocal styles. By breaking down these styles and exploring the output of the great composers, Songwriters of the American Musical Theatre offers singers and performers an essential guide to the modern musical. Composers from Gilbert and Sullivan and Irving Berlin to Alain Boublil and Andrew Lloyd Webber are examined through a brief biography, a stylistic overview, and a comprehensive song list with notes on suitable voice types and further reading. This volume runs the gamut of modern musical theatre, from English light opera through the American Golden Age, up to the "mega musicals" of the late Twentieth Century, giving today’s students and performers an indispensable survey of their craft.
(Book). This volume collects, for the first time, 28 biographies of the greatest songwriters and lyricists of Broadway musicals. It goes below the surface to see what made them tick and to uncover the secrets of their success as well as the personal foibles that sometimes led to their downfall. Longtime theatre lover and stage veteran Herbert Keyser takes us on a personal journey through the music that made these great artists so much a part of our history and our lives. Keyser has assembled a reader-friendly collection of stories that will capture your heart, bring a tear to your eye or a smile to your face, and all the while have you singing along. In presenting these life histories, full of drama, humor, and poignancy, The Geniuses of the American Musical Theatre gives us the story of the golden age of Broadway from a well-informed, witty, and warmhearted new perspective. The first book of its type ever assembled, it is a tremendous attraction for all those who love theatre and popular music, with intimate, little-known details of popular songwriters' lives.
The Songs, Shows, and Careers of Broadway's Major Composers
Author: Steven Suskin
Publisher: Oxford University Press
Show Tunes fully chronicles the shows, songs, and careers of the major composers of the American musical theatre, from Jerome Kern's earliest interpolations to the latest hits on Broadway. Legendary composers like Gershwin, Rodgers, Porter, Berlin, Bernstein, and Sondheim have been joined by more recent songwriters like Stephen Schwartz, Stephen Flaherty, Michael John LaChiusa, and Adam Guettel. This majestic reference book covers their work, their innovations, their successes, and their failures. Show Tunes is simply the most comprehensive volume of its kind ever produced, and this newly revised and updated edition discusses almost 1,000 shows and 9,000 show tunes. The book has been called "a concise skeleton key to the Broadway musical" (Variety) and "a ground-breaking reference work with a difference" (Show Music)-or, as the Washington Post observed, "It makes you sing and dance all over your memory." The eagerly anticipated Fourth Edition, updated through May, 2009, features the entire theatrical output of forty of Broadway's leading composers, in addition to a wide selection of work by other songwriters. The listings include essential production data and statistics, the most extensive information available on published and recorded songs, and lively commentary on the shows, songs, and diverse careers. Based on meticulous research, the book also uncovers dozens of lost musicals-including shows that either closed out of town or were never headed for Broadway-and catalogs hundreds of previously unknown songs, including a number of musical gems that have been misplaced, cut, or forgotten. Informative, insightful, and provocative, Show Tunes is an essential guide for anyone interested in the American musical.
Essays on Composers, Lyricists, Librettists, Arrangers, Choreographers, Designers, Directors, Producers and Performance Artists
Author: Bertram E. Coleman,Judith Sebesta
Publisher: McFarland & Company Incorporated Pub
"These essays examine the history of women in musical theatre, providing biographical descriptions; interpretations of their productions; and several accounts of how being a woman affected their careers"--Provided by publisher.
Contains entries on collaborators Rodgers and Hammerstein, including stage, film, and television projects, theater playhouses, organizations, their two hundred thirty-one major songs, and other artists who worked with the two men.
From the diverse proto-theatres of the mid-1800s, though the revues of the ‘20s, the ‘true musicals’ of the ‘40s, the politicisation of the ‘60s and the ‘mega-musicals’ of the ‘80s, every era in American musical theatre reflected a unique set of socio-cultural factors. Nathan Hurwitz uses these factors to explain the output of each decade in turn, showing how the most popular productions spoke directly to the audiences of the time. He explores the function of musical theatre as commerce, tying each big success to the social and economic realities in which it flourished. This study spans from the earliest spectacles and minstrel shows to contemporary musicals such as Avenue Q and Spiderman. It traces the trends of this most commercial of art forms from the perspective of its audiences, explaining how staying in touch with writers and producers strove to stay in touch with these changing moods. Each chapter deals with a specific decade, introducing the main players, the key productions and the major developments in musical theatre during that period.
A reference that covers American stage, film, and television musicals from 1860 to 2007 offers information on the musical productions and the historical evolution of the musical, as well as on performers, composers, and producers.
(Applause Books). This revised and expanded edition of Kislan's acclaimed study of America's musical theater includes a new section on "Recent Musical Theater: Issues and Problems." "The ancient union of drama and song, known as musical theater, comes in many forms vaudeville, burlesque, comic opera, minstrels, etc. The author reviews these and other highlights of American musicals ... with a fascinating background on the elements that contribute to the success of a Showboat ." King Features * "Worth study by anyone who still thinks that the musical is a collection of songs." The Stage
Oklahoma! premiered on Broadway in 1943 under the auspices of the Theatre Guild, and today it is performed more frequently than any other Rodgers and Hammerstein musical. In this book Tim Carter offers the first fully documented history of the making of this celebrated American musical. Drawing on research from rare theater archives, manuscripts, journalism, and other sources, Carter records every step in the development of Oklahoma! The book is filled with rich and fascinating details about how Rodgers and Hammerstein first came together, the casting process, how Agnes de Mille became the show’s choreographer, and the drafts and revisions that ultimately gave the musical its final shape. Carter also shows the lofty aspirations of both the creators and producers and the mythmaking that surrounded Oklahoma! from its very inception, and demonstrates just what made it part of its times.
Jerome Kern (1885-1945) is considered one of the most versatile and influential of all American theatre and film composers. The Jerome Kern Encyclopedia consists of entries on people, theatre and film musicals, songs, subjects, and themes related to the composer. Not only are all of Kern’s stage and screen projects covered, but there are also entries on all the major librettists and lyricists with whom he worked, as well as producers, directors, actors, and other individuals who figured prominently in his career. Approximately 100 of Kern’s most important songs are discussed, and other entries address awards, collaborations, working methods, song styles, and other related subjects. The encyclopedia also includes a brief biography of Kern, a chronology of his life and work, and appendices on recordings, interpolations, revivals, and remakes.
From patriotic "God Bless America" to wistful "White Christmas," Irving Berlin's songs have long accompanied Americans as they fall in love, go to war, and come home for the holidays. Irving Berlin's American Musical Theater is the first book to fully consider this songwriter's immeasurable influence on the American stage. Award-winning music historian Jeffrey Magee chronicles Berlin's legendary theatrical career, providing a rich background to some of the great composer's most enduring songs, from "There's No Business Like Show Business" to "Puttin' on the Ritz." Magee shows how Berlin's early experience singing for pennies made an impression on the young man, who kept hold of that sensibility throughout his career and transformed it into one of the defining attributes of Broadway shows. Magee also looks at darker aspects of Berlin's life, examining the anti-Semitism that Berlin faced and his struggle with depression. Informative, provocative, and full of colorful details, this book will delight song and theater aficionados alike as well as anyone interested in the story of a man whose life and work expressed so well the American dream.
Facts101 is your complete guide to America's Musical Landscape. In this book, you will learn topics such as Religious Music in the Colonial,Revolutionary, and Federal Periods, Secular Music in the Colonial,Revolutionary, and Federal Periods, Religious Music in the Early Nineteenth Century, and Popular Music of the Civil War Era plus much more. With key features such as key terms, people and places, Facts101 gives you all the information you need to prepare for your next exam. Our practice tests are specific to the textbook and we have designed tools to make the most of your limited study time.
F. Scott Fitzgerald named it, Louis Armstrong launched it, Paul Whiteman and Fletcher Henderson orchestrated it, and now Arnold Shaw chronicles this fabulous era in his marvelously engrossing book, appropriately called The Jazz Age. Enriching his account with lively anecdotes and inside stories, he describes the astonishing outpouring of significant musical innovations that emerged during the "Roaring Twenties"--including blues, jazz, band music, torch ballads, operettas, and musicals--and sets them against the background of the Prohibition world of the Flapper and the Gangster. The Jazz Age offers an insider's view into the significant developments and personalities of the jazz age, including the maturation and Americanization of the Broadway musical theater, the explosion of the arts celebrated in the Harlem Renaissance, the rise of the Classic Blues Singers, and the evolution of ragtime into stride piano. It also contains a bibliography, detailed discography, and listings of the songs of the twenties in Variety's "Golden 100" and of films featuring singers and songwriters of the era.
In this pathbreaking book, Allen Forte uses modern analytical procedures to explore the large repertoire of beautiful love songs written during the heyday of American musical theater, the Big Bands, and Tin Pan Alley. Covering the work of such songwriters as Jerome Kern, Irving Berlin, Cole Porter, George Gershwin, Richard Rodgers, and Harold Arlen, he seeks to illuminate this extraordinary music indigenous to America by revealing its deeper organizational characteristics. In so doing, he aims to establish it as a unique corpus of music that deserves more intensive study and appreciation by scholars and connoisseurs in the broader fields of American popular music and jazz. Expressing much of the traditional tonality associated with European music in the eighteenth and nineteenth centuries, the love songs of the Golden Age are shown to draw on a rich variety of elements--popular harmony, idiomatic lyric-writing, and Afro-American dance rhythms. His analyses of such songs as "Embraceable You" or "Yesterdays" in particular exemplify his ability to convey the sublime, unpretentious simplicity of this great music.
When films like The Jazz Singer started to integrate synchronized music, in the late 1920s many ambitious songwriting pioneers of the Great White Way - George and Ira Gershwin, Cole Porter, Richard Rodgers, and Lorenz Hart, among many others - were enticed westward by Hollywood studios' promises of national exposure and top dollar success. But what happened when writers native to the business of Broadway ran into the very different business of Hollywood? Their movies had their producer despots, their stacking of writing teams on a single project, their use of five or six songs per story where Broadway fit in a dozen, and it seemed as if everyone in Hollywood was uncomfortable with characters bursting into song on the street, in your living room, or in "a cottage small by a waterfall." Did the movies give theater writers a chance to expand their art, or did mass marketing ruin the musical's quintessential charm? Is it possible to trace the history of the musical through both stage and screen manifestations, or did Broadway and Hollywood give rise to two wholly irreconcilable art forms? And, finally, did any New York writer or writing team create a film musical as enthralling and timeless as their work for the stage? In When Broadway Went to Hollywood, writer and celebrated steward of musical theatre Ethan Mordden directs his unmistakable wit and whimsy to these challenging questions and more, charting the volatile and galvanizing influence of Broadway on Hollywood (and vice versa) throughout the twentieth century. Along the way, he takes us behind the scenes of the great Hollywood musicals you've seen and loved (The Wizard of Oz, Gigi, The Sound of Music, Chicago, West Side Story, The Music Man, Grease) as well as some of the outrageous flops you probably haven't. The first book to tell the story of how Broadway affected the Hollywood musical, When Broadway Goes to Hollywood is sure to thrill theatre buffs and movie lovers alike.
Eine glänzende Erzählung lässt uns die Geschichte des 20. Jahrhunderts über seine Musik neu erleben. Alex Ross, Kritiker des »New Yorker«, bringt uns aus dem Wien und Graz am Vorabend des Ersten Weltkriegs ins Paris und Berlin der Goldenen Zwanzigerjahre, aus Hitler-Deutschland über Russland ins Amerika der Sechziger- und Siebzigerjahre. Er führt uns durch ein labyrinthisches Reich, von Jean Sibelius bis Lou Reed, von Gustav Mahler bis Björk. Und wir folgen dem Aufstieg der Massenkultur wie der Politik der Massen, den dramatischen Veränderungen durch neue Techniken genauso wie den Kriegen, Experimenten, Revolutionen und Aufständen der zurückliegenden 100 Jahre. »Eine unwiderstehliche Einladung, sich mit den großen Themen des 20. Jahrhunderts zu beschäftigen.« Fritz Stern