Relevant bibliographies by topics / History of Broadway Musical

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'History of Broadway Musical'

Author: Grafiati
Published: 4 June 2021
Last updated: 7 February 2022

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Journal articles on the topic "History of Broadway Musical"

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Greenspan, Charlotte. "Death Comes to the Broadway Musical." Daedalus 141, no. 1 (January 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 marked musically. It concludes with a look at musicals involving the deaths of historical characters and at AIDS-related musicals, works whose assumptions and ideals are very far from those of the musical comedies of the early twentieth century.
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Atkey, Mel. "A Million Miles from Broadway." Brock Review 12, no. 2 (December 5, 2011): 1–11. http://dx.doi.org/10.26522/br.v12i2.358.

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Musical theatre can take root anywhere. The future of the musical may very well lie beyond Broadway and the West End. In recent years, successful musicals have been developed in Canada, Australia and the German speaking countries. Some, like Elisabeth, have travelled internationally without ever playing in English. Companies in Korea, Japan and China are investing in new works, both domestically and internationally. These different countries can learn from each other. In South Africa, people do literally burst into song on the streets. During the apartheid era, some of the freedom fighters were known to have gone to the gallows singing. Both there and in Argentina, musical theatre played an active role in the struggle against oppression. Shows like Sarafina weren’t just about the struggle against apartheid, they were part of it. This is nothing new – the cabarets of Weimar Berlin were also struggling against oppression. In fact, the birth of the musical coincided with the birth of democracy. On the other hand, during World War II, the all-female Takarazuka Revue was co-opted by the Japanese government for propaganda purposes. The real point of my book A Million Miles from Broadway is not just to tell a history of the musical. It’s what you do with that history after you’ve learned it that is important. Firstly to learn about our own musical theatre heritage, but also to learn about each other’s. We may find that people in other countries have found solutions to problems that we are struggling with.
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Wolf, S. "Showtime: A History of the Broadway Musical Theater." Journal of American History 98, no. 3 (November 29, 2011): 917–18. http://dx.doi.org/10.1093/jahist/jar364.

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Schweitzer, M. "Changed for Good: A Feminist History of the Broadway Musical." Journal of American History 99, no. 1 (May 22, 2012): 356–57. http://dx.doi.org/10.1093/jahist/jas017.

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Clum, John M. "Changed for Good: A Feminist History of the Broadway Musical." Contemporary Theatre Review 23, no. 2 (May 2013): 247–48. http://dx.doi.org/10.1080/10486801.2013.779419.

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Wright, Trudi. "Larry Stempel,Showtime: A History of the Broadway Musical Theater." Journal of Musicological Research 32, no. 1 (January 2013): 65–67. http://dx.doi.org/10.1080/01411896.2013.752291.

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Bringardner, Chase. "The Cambridge Companion to the Musical, and: Broadway Musicals: A Hundred Year History (review)." Theatre Topics 13, no. 2 (2003): 256–57. http://dx.doi.org/10.1353/tt.2003.0028.

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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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Pellegrini, Ann. "Making Americans: Jews and the Broadway Musical (review)." American Jewish History 92, no. 2 (2004): 253–55. http://dx.doi.org/10.1353/ajh.2006.0012.

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박병성. "The Place of Origin for Musical; History and Environment of Broadway." Korean Journal of Arts Studies ll, no. 19 (March 2018): 315–26. http://dx.doi.org/10.20976/kjas.2018..19.015.

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Dissertations / Theses on the topic "History of Broadway Musical"

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Charpentier, Marc 1965. "Broadway north : musical theatre in Montreal in the 1920s." Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=35990.

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This thesis examines the professional musical stage of Montreal in the decade following the First World War. Throughout the 1920s, almost all of the city's musical theatre attractions were foreign in origin, and were staged by American, French, and British roadshow companies, arriving mainly from New York City. Analysis of Montreal's musical theatre entertainment and satellite relationship with Broadway highlights the growing cultural influence of the United States upon Quebec society in the interwar period. As a northern outpost of Broadway, Montreal was directly affected by the profound transformation of the entertainment industry of the United States. After peaking in the second half of the decade, the musical stage of Montreal was gradually supplanted by the decline of the roadshow system, the advent of the sound film, the onset of the Great Depression, and the resurgence of local stock theatre companies.
The northern extension of Broadway into Montreal heightened divisions within Montreal society between a growing middle class of businessmen, managers, and other professionals who embraced modernity and cultural change, and more conservative forces who favoured the traditional Quebec based on religious and nationalist values. While the musical attractions sent northwards from Broadway were a popular divertissement for a large proportion of Montrealers from all social classes and linguistic backgrounds, they were abhorred by the province's clerical and nationalist elites and their supporters who regarded them as a threat to the survival of traditional French Canadian values and culture.
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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, Broadway and Beyond, will be a one-act historical look at the genre of cabaret. It will include material garnered from historical research of the cabaret genre, specifically focusing on some of the famous women, songs, stories, lives, and important contributions. The cabaret show will cover information and art from cabaret's inception in the Paris Montmartre district in 1881 to its height in Germany during the Weimar Republic and will culminate with cabaret's insurgence into American culture up to, and including, the state of American cabaret today. American cabaret will be emphasized, but a portion of the show will explore American cabaret's European roots. My thesis will explore the triumphs and tribulations of putting together the show. As the culmination of my UCF studies, this project will test my abilities as a librettist, performer, creative artist, director, and collaborator. This thesis will include the actual show performances as well as a written monograph document recording the project's journey from its inception to conclusion.
M.F.A.
Department of Theatre
Arts and Humanities
Theatre
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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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Estremadoyro, Tamayo Farah Evelyn, and Meza Valeria Milagros Mannucci. "Hacia un teatro musical limeño con la estructura dramatúrgica y musical de Broadway: El caso de Pantaleón y las visitadoras." Bachelor's thesis, Pontificia Universidad Católica del Perú, 2020. http://hdl.handle.net/20.500.12404/16651.

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Kennedy, Michael M. "“Isn’t It Swell . . . Nowadays?”: The Reception History of Chicago on Stage and Screen." University of Cincinnati / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1397735101.

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Moreland, Kathleen A. "Of Thee We Sing: Roots of the American Songbook." University of Akron / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=akron1428148686.

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Charpentier, Marc. "Broadway North, musical theatre in Montreal in the 1920s." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0015/NQ55311.pdf.

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Badue, Alexandre. "Communicating in Song: The American Sung-Through Musical from In Trousers (1979) to Caroline, or Change (2004)." University of Cincinnati / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1491557707145822.

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Nason, Ryan. "Life in the Pits: A Trumpeter’s Life in New York’s Musical Theater." Thesis, University of Oregon, 2018. http://hdl.handle.net/1794/23798.

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Pit musicians have fallen through the cracks of musical theater scholarship. In all my research, I have yet to come across any sources that thoroughly examine musical theater from the perspective of the musicians who perform in its orchestras day in and day out. Thus, this thesis documents Richard (Dick) R. Smith's life as a professional musician living and working--in vaudeville and on Broadway--in midcentury New York City. Smith might be relatively unknown, but he played a significant role in a variety of musical contexts. By understanding his life, we gain valuable insight into histories that have only focused on the experiences and achievements of actors, bandleaders, composers, orchestrators, and conductors, among others. Examining Smith's experiences also help us understand something about the hundreds, if not thousands, of similarly anonymous pit musicians whose talents and hard work made New York City's vibrant musical life possible.
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Reggiani, Giulia. "Da Broadway alla gran via: La traduzione spagnola del musical The Lion King." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2014. http://amslaurea.unibo.it/7519/.

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Questa argomentazione tratta la traduzione e l'adattamento spagnolo del musical The Lion King. In primo luogo viene data una descrizione di che cos'è un musical, quali sono le sue origini, quali tematiche vengono affrontate e da quali numeri è composto lo spettacolo. Viene poi introdotto The Lion King con una breve descrizione del film per poi passare al "making of" del musical, abbiamo quindi una breve descrizione di scene, costumi e maschere. La terza parte è dedicata alla traduzione per la scena: vengono identificate le problematiche maggiori di questo campo della traduzione, si analizzano performability, speakability e soprattutto la singability, la caratteristica principale da tenere a mente quando si traduce un musical anche se spesso non gli viene attribuita l'importanza che merita. Viene poi introdotta la traduzione spagnola de El Rey León e del suo traduttore, Jordi Galcerán, di cui viene descritta una breve biografia in quanto il discorso è incentrato soprattutto nella sua esperienza di traduzione. L'ultima parte è l'analisi delle canzoni. Sono state selezionate sette canzoni di cui sono state analizzate nel dettaglio un minimo di due a un massimo di tre strofe. Ognuna di esse è affiancata dalla versione originale inglese in modo da avere subito chiare quali sono le differenze principali.
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Books on the topic "History of Broadway Musical"

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Kantor, Michael. Broadway: The American musical. New York: Bulfinch Press, 2004.

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Rothwell, Elizabeth. Broadway. New York, N.Y: Friedman/Fairfax, 1992.

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Swain, Joseph Peter. The Broadway musical: A critical and musical survey. New York: Oxford University Press, 1990.

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Steyn, Mark. Broadway babies say goodnight: Broadway musicals then and now. London: Faber and Faber, 1997.

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Tumbusch, Tom. Broadway musicals: A history in posters. Dayton, Ohio: Tomart Publications, 2004.

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Lassell, Michael. The little mermaid: A broadway musical. New York: Disney Editions, 2008.

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Showtime: A history of the Broadway musical theater. New York, NY: W.W. Norton & Co., 2010.

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More Broadway musicals: Since 1980. New York: H.N. Abrams, 1991.

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Green, Stanley. Broadway musicals: Show by show. London: Faber, 1987.

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Joel, Hirschhorn, ed. Notes on Broadway: Intimate conversations with Broadway's greatest songwriters. New York: Simon & Schuster, 1987.

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Book chapters on the topic "History of Broadway Musical"

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Rousu, Matthew C. "Curtains the Musical." In Broadway and Economics, 35–36. Abingdon, Oxon ; New York, NY : Routledge, 2018. |: Routledge, 2018. http://dx.doi.org/10.4324/9781315168364-18.

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Rousu, Matthew C. "Heathers the Musical." In Broadway and Economics, 72. Abingdon, Oxon ; New York, NY : Routledge, 2018. |: Routledge, 2018. http://dx.doi.org/10.4324/9781315168364-33.

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Rousu, Matthew C. "Shrek the Musical." In Broadway and Economics, 139–41. Abingdon, Oxon ; New York, NY : Routledge, 2018. |: Routledge, 2018. http://dx.doi.org/10.4324/9781315168364-66.

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Hecht, Stuart J. "Hello, Young Lovers: Assimilation and Dramatic Configurations in the American Musical." In Transposing Broadway, 15–39. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9781137001740_2.

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Allen, Kevin Lee. "Chaplin: The Musical on Broadway." In Vectorworks for Entertainment Design, 315. Second edition. | New York: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429290671-39.

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Kennedy, Michael M. "The New “Sounds of Broadway”." In The Routledge Companion to the Contemporary Musical, 106–19. New York; London: Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781315543703-15.

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Taylor, Millie, and Dominic Symonds. "‘I’m Just a Broadway Baby’: Intertextuality in Music and Lyrics." In Studying Musical Theatre, 202–16. London: Macmillan Education UK, 2014. http://dx.doi.org/10.1007/978-1-137-27096-2_13.

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Shearer, Martha. "Fabulous Invalids: Broadway and Times Square." In New York City and the Hollywood Musical, 113–51. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-56937-0_5.

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Cantu, Maya. "Coda: Rewriting the Broadway Cinderella Story." In American Cinderellas on the Broadway Musical Stage, 203–9. New York: Palgrave Macmillan US, 2015. http://dx.doi.org/10.1007/978-1-137-53453-8_6.

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Rostosky, Arreanna. "Amplifying Broadway after the Golden Age." In The Routledge Companion to the Contemporary Musical, 78–86. New York; London: Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781315543703-12.

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Conference papers on the topic "History of Broadway Musical"

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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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Karpova, E. K. "The first organization of musicians in Ufa musical history." In Scientific trends: Philology, Culturology, Art history. ЦНК МОАН, 2020. http://dx.doi.org/10.18411/spc-26-02-2020-06.

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Smith, J. O. "A history of ideas leading to virtual acoustic musical instruments." In 2005 Workshop on Applications of Signal Processing to Audio and Acoustics. IEEE, 2005. http://dx.doi.org/10.1109/aspaa.2005.1540229.

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Kharuto, Alexander. "Musical Information Research In Russia (History And The Present Time)." In ISIS Summit Vienna 2015—The Information Society at the Crossroads. Basel, Switzerland: MDPI, 2015. http://dx.doi.org/10.3390/isis-summit-vienna-2015-t7003.

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Gorodilova, Marina, Alla Korobova, Elena Polotskaya, and Lyudmila Shabalina. "First Conservatoire in the Urals: From the History of Russian Musical Education." In 2017 International Conference on Art Studies: Science, Experience, Education (ICASSEE 2017). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-17.2018.78.

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Krupina, L. L. "The principle of opposition in the musical drama of I.S. Bach (on the example of his clavier fugues)." In Scientific Trends: Philology, Culturology, Art history. ЦНК МОАН, 2020. http://dx.doi.org/10.18411/spc-26-05-2020-11.

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Dongauser, E. V., T. A. Nezhinskaya, and E. Yu Glazyrina. "Development of Creative Abilities of Preschool Children Using Musical Digital Technologies." In International Scientific Conference “Digitalization of Education: History, Trends and Prospects” (DETP 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200509.034.

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Kuprina, N. G., Yue Guan, and Shu Han Wang. "Digital Technologies in Mastering Musical Styles of European Culture by Chinese Students." In International Scientific Conference “Digitalization of Education: History, Trends and Prospects” (DETP 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200509.009.

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Tagiltseva, N. G., M. N. Kurlapov, and Jifeng Jia. "Digital Technologies in the Development of Ensemble Musical Culture of String Ensemble Members." In International Scientific Conference “Digitalization of Education: History, Trends and Prospects” (DETP 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200509.012.

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Tischer, Matthias. "Musikgeschichte der DDR: Ein Pilotprojekt zur digitalen Musikvermittlung." 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/10.25366/2020.106.

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Thirty years after the so-called ‚Wende‘, a fundamental and comprehensive study of the musical history of the GDR - encompassing both the music itself and the political and cultural contexts (i.e. the musical relations) - still represents a desideratum. The same is true for a long-term comparative music history of the divided Germany, for which the our project develops some essential prerequisites. The research project presented here is an informed cultural-historical analysis of the musical discourse of the GDR under the auspices of the Cold War. It is not about a revised version of national history only, because despite a relatively strong national and regional self-centredness of the musical life of the GDR, it can hardly be understood without the political and cultural references to the Soviet Union, the Federal Republic of Germany and the neighbouring European states.
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