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Journal articles on the topic 'History of Broadway Musical'

Author: Grafiati

Published: 4 June 2021

Last updated: 7 February 2022

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Garrett, Jason T. "Smithsonian Celebrates the American Musical." Theatre Survey 37, no. 2 (November 1996): 137–39. http://dx.doi.org/10.1017/s0040557400001654.

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Two of the Smithsonian museums in Washington, D.C., the National Portrait Gallery and the National Museum of American History, are celebrating Broadway and Hollywood with their collaborative exhibit “Red, Hot, and Blue: A Salute to American Musicals,” which runs 25 October 1996 to 6 July 1997, at the National Portrait Gallery.

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12

Byrnside, Ron. ""Guys and Dolls": A Musical Fable of Broadway." Journal of American Culture 19, no. 2 (June 1996): 25–33. http://dx.doi.org/10.1111/j.1542-734x.1996.1902_25.x.

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13

Gelles, Barrie. "Changed for Good: A Feminist History of the Broadway Musical (review)." Theatre Topics 22, no. 1 (2012): 112–13. http://dx.doi.org/10.1353/tt.2012.0011.

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14

Graber, N. "Changed for Good: A Feminist History of the Broadway Musical. By Stacy Wolf." Music and Letters 94, no. 2 (May 1, 2013): 367–70. http://dx.doi.org/10.1093/ml/gct059.

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15

Baker, Hilary. "Changed for Good: A Feminist History of the Broadway Musical (review)." Notes 69, no. 1 (2012): 69–71. http://dx.doi.org/10.1353/not.2012.0113.

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16

Rogers, Bradley. "Changed for Good: A Feminist History of the Broadway Musical (review)." Women and Music: A Journal of Gender and Culture 16, no. 1 (2012): 149–53. http://dx.doi.org/10.1353/wam.2012.0005.

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17

Johnson, Brett D. "Changed for Good: A Feminist History of the Broadway Musical by Stacy Wolf." Theatre History Studies 34, no. 1 (2015): 121–23. http://dx.doi.org/10.1353/ths.2015.0023.

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18

McWhorter, John H. "Long Time, No Song: Revisiting Fats Waller's Lost Broadway Musical." Daedalus 142, no. 4 (October 2013): 109–19. http://dx.doi.org/10.1162/daed_a_00238.

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Just before he died in 1943, Fats Waller wrote the music for a Broadway book musical with a mostly white cast, the first black composer to do so–and the only one ever to do it with commercial success. Yet “Early to Bed” is largely ignored by historians of musical theater, while jazz scholars describe the circumstances surrounding its composition rather than the work itself. Encouraging this neglect is the fact that no actual score survives. This essay, based on research that assembled all surviving evidence of the score and the show, gives a summary account of “Early to Bed” and what survives from it. The aim is to fill a gap in Waller scholarship, calling attention to some of his highest quality work, and possibly stimulating further reconstruction work that might result in a recording of the score.

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19

Barsukova, Olga. "Genre and style peculiarities of “The Sound of Music” musical by R. Rodgers." PHILHARMONICA. International Music Journal, no. 4 (April 2020): 54–69. http://dx.doi.org/10.7256/2453-613x.2020.4.32910.

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The research subject is the musical by the composer Richard Rodgers and the book writer Oscar Hammerstein II “The Sound of Music” - one of the bright examples of classic Broadway musicals. The author describes the main genre and style and dramatic peculiarities of the musical and attempts to solve the following research tasks: to analyze the narrative and genre components of the piece, the intonation complexes of the main characters and the most significant groups of characters and vocal techniques, and to trace back the influence of Austrian national genres on the music fabric of the musical. The author uses the following methods: cultural-historical, comparative analysis, and the methods of music-style and music-history analysis. Despite the obvious significance of this piece of music and its thumping success, the musical “The Sound of Music” hasn’t been studied thoroughly enough in the scientific literature. The author arrives at the conclusion that the special dramatism, the bright plot, the developed music drama, and the multifaceted genre and style alligation are the peculiarity of the musical and form that unique quality that brought success in the past and still makes the musical successful.   

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20

Greenwood, Steven. "Say there’s no future: The queer potential of Wicked’s Fiyero." Studies in Musical Theatre 12, no. 3 (December 1, 2018): 305–17. http://dx.doi.org/10.1386/smt.12.3.305_1.

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This article demonstrates the queer potential and pleasure produced by the character Fiyero in Stephen Schwartz and Winnie Holzman’s Wicked (2003). I mobilize two primary frameworks to examine Fiyero’s queerness; the first half of the article views Fiyero in the context of queer theories of temporality and utopia, while the second half is interested in the deep cultural history of gay men’s relationships with Broadway musicals. This analysis produces both theoretical and historical implications of Fiyero’s character as I explore how his representation disrupts heteronormative rituals and aspects of the social order, as well as how he produces a valuable figure for the communities of gay men that have historically developed around musical theatre. The queer possibility of Wicked’s women has been examined extensively in past scholarship – particularly through the insights of Stacy Wolf – and this article expands upon this previous work to account for the role of Fiyero in the musical and the queer possibilities he produces.

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21

Chandler, Clare, and Simeon Scheuber‐Rush. "“Does Anybody Have A Map?”: The Impact of “Virtual Broadway” on Musical Theater Composition." Journal of Popular Culture 54, no. 2 (April 2021): 276–300. http://dx.doi.org/10.1111/jpcu.13013.

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22

Garrett, Charles Hiroshi. "Chinatown, Whose Chinatown? Defining America's Borders with Musical Orientalism." Journal of the American Musicological Society 57, no. 1 (2004): 119–74. http://dx.doi.org/10.1525/jams.2004.57.1.119.

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The music of Tin Pan Alley has proven an extremely rich source for investigations of race, ethnicity, and identity in America, most clearly with respect to Jewish American identity-making and the cultural history of black/white racial relations. The existence of a large body of Asian-themed Tin Pan Alley songs suggests, however, that other important trajectories involving the construction of ethnic and racial identity have been overlooked. To illuminate the role of music in molding ideas of Asia and Asian America, this essay focuses on the song "Chinatown, My Chinatown" by lyricist William Jerome and composer Jean Schwartz, offering detailed accounts of its origin, its 1910 Broadway debut, its presentation as sheet music, and its extensive performance history. By caricaturing local Chinatowns as foreign, opium-infested districts within U.S. borders, the song exemplifies turn-of-the-century musical orientalism as it was directed toward a local immigrant community. Yet the popular standard continues to resonate today in performance, recordings, film, television, cartoons, advertising, and the latest entertainment products. To account for the song's enduring cultural impact, this essay traces its history across diverse performance contexts over the last century.

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23

Hischak, Thomas S. "On Broadway: Art and Commerce on the Great White Way. By Steven Adler. Carbondale: Southern Illinois University Press, 2004; pp. 250. $27 paper; $55 cloth; Our Musicals, Ourselves: A Social History of the American Musical Theatre. By John Bush Jones. Brandeis University Press, Waltham, MA (Lebanon, NH: UPNE), 2003; pp. 383. $29.95 cloth." Theatre Survey 46, no. 2 (October 25, 2005): 346–49. http://dx.doi.org/10.1017/s0040557405380203.

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While few would argue that commercial theatre on Broadway today is the artistic heart of the American theatre, fascination with Broadway and its productions has not diminished, as witnessed by Steven Adler's thorough and thought-provoking study of contemporary producing, On Broadway: Art and Commerce on the Great White Way. Having interviewed sixty-six professionals in the field over a period of five years, Adler is able to cover his subject from many angles as he allows each person to offer opinions on everything from the corporate involvement in Broadway to the absence of scenes from nonmusicals on the annual Tony Awards broadcast.

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24

Wright, Trudi. "Changed For Good: A Feminist History of the Broadway Musical. By Stacy Wolf. New York: Oxford University Press, 2011." Journal of the Society for American Music 7, no. 3 (August 2013): 338–42. http://dx.doi.org/10.1017/s175219631300028x.

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25

Villanueva, Michelle. "The Great White Way: Race and the Broadway Musical WarrenHoffman. New Brunswick: Rutgers University Press, 2014." Journal of American Culture 39, no. 1 (March 2016): 125–26. http://dx.doi.org/10.1111/jacc.12505.

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26

Laird, Paul R. "Showtime: A History of the Broadway Musical Theater. By Larry Stempel. New York and London: W.W. Norton and Company, 2010." Journal of the Society for American Music 8, no. 1 (February 2014): 103–7. http://dx.doi.org/10.1017/s1752196313000631.

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27

Barg, Lisa. "Queer Encounters in the Music of Billy Strayhorn." Journal of the American Musicological Society 66, no. 3 (2013): 771–824. http://dx.doi.org/10.1525/jams.2013.66.3.771.

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AbstractThis article addresses issues of queer identity, aesthetics, and history in jazz through a focus on two midcentury works composed and/or arranged by Billy Strayhorn: a set of four pieces written in 1953 for an Off-Broadway production of Federico García-Lorca's The Love of Don Perlimplín for Belisa in Their Garden (Amor de Don Perlimplín con Belisa en su jardín); and several movements from the Strayhorn-Ellington adaptation of Tchaikovsky's Nutcracker Suite (1960). My study considers how the two works engage artistic figures, themes, topics, and aesthetic practices that have strong queer historical affiliations. These include failed or impossible love, masking, stylized exotica, and other liminal spheres of identificatory ambiguity and reversal. Taken together, these works enable a positioning of Strayhorn within modernist queer cultural history and, more specifically, within the history of African American gay cultural production. At the same time, through showing how queerness inhabits jazz's past, my analyses of Strayhorn's queer musical encounters provide a critical vantage point from which to examine historical and cultural understandings of jazz at midcentury and, more broadly, the complex relationships between social identities (race, sexuality, gender) and composition, arrangement, and collaboration in twentieth-century music.

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Mason, Jeffrey D. "American Theatre in the Culture of the Cold War: Producing and Contesting Containment, 1947–1962. By Bruce A. McConachie. Studies in Theatre History & Culture. Iowa City: University of Iowa Press, 2003; pp. xiv + 347; 15 illus. $49.95 cloth." Theatre Survey 46, no. 2 (October 25, 2005): 341–43. http://dx.doi.org/10.1017/s0040557405360200.

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From 1947 to 1962, Broadway audiences enjoyed major works by Tennessee Williams and Arthur Miller as well as plays ranging from A Thousand Clowns to Who's Afraid of Virginia Woolf? and a string of durable musical comedies offering light and dark visions of the urban streets (Guys and Dolls and West Side Story), inspirational fables (The Music Man and The Sound of Music), and war in legend and in recent memory (Camelot and South Pacific). Meanwhile, Judith Malina and Julian Beck founded the Living Theatre, José Quintero and Theodore Mann established the Circle in the Square, Joe Papp offered his first free Shakespeare productions in New York City parks, and Joe Cino and Ellen Stewart led the development of Off-Off Broadway. This heterogeneous theatre scene comprised diverse and even competing representations of a complex but interconnected culture, and Bruce A. McConachie has undertaken the task of elucidating the workings of such art not in isolation but as cultural and social production.

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29

Suico, Terri. "Changed for Good: A Feminist History of the Broadway Musical. StacyWolf. New York: Oxford University Press, 2011. 320 pp. $24.95 paper." Journal of Popular Culture 46, no. 3 (June 2013): 682–84. http://dx.doi.org/10.1111/jpcu.12043_5.

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30

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 (May 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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WRIGHT, DAVID C. H. "The London Sinfonietta 1968–2004: A Perspective." Twentieth-Century Music 2, no. 1 (March 2005): 109–36. http://dx.doi.org/10.1017/s1478572205000216.

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The London Sinfonietta’s reputation as a contemporary music ensemble comes from the continuing commitment by its players and artistic directors to its quality of performance. The ensemble also developed a sense of its musical identity by generating a repertoire of commissioned works. This article looks at some of the ways that the Sinfonietta defined its musical ideology and has functioned as a performance-centred art world in which composers are invited to collaborate but are not there by right. It examines the Sinfonietta’s strategies for audience building, the ensemble’s contribution to the development of London’s concert life since its foundation in 1968, and looks at the ways that it has sought to renew itself in response to the different funding and aesthetic environments it has encountered in its history. The Sinfonietta’s venture into Broadway repertoire is discussed in terms of social identity. The article argues, after Jürgen Habermas and T. W. C. Blanning, that one of the most significant contributions of the Sinfonietta has been its continued commitment to the concert event as a forum for critical engagement and cultural debate.

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32

Kowalke, Kim H. "Review: A Chronology of American Musical Theater by Richard C. Norton; Broadway Musicals, 1943–2004 by John Stewart. Foreword by Hal Prince; Unfinished Show Business: Broadway Musicals as Works-in-Process by Bruce Kirle; Musical Theater and American Culture by David Walsh, Len Platt; Our Musicals, Ourselves: A Social History of the American Musical Theatre by John Bush Jones; The American Musical and the Formation of National Identity by Raymond Knapp; The American Musical and the Performance of Personal Identity by Raymond Knapp; The Musical as Drama: A Study of the Principles and Conventions behind Musical Shows from Kern to Sondheim by Scott McMillin; The Rise and Fall of the Broadway Musical by Mark N. Grant." Journal of the American Musicological Society 60, no. 3 (2007): 688–714. http://dx.doi.org/10.1525/jams.2007.60.3.688.

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33

Schrader, Valerie Lynn. "Examining the ‘histo-remix’: Public memory, Burkean identification and feminism in the musical Six." Studies in Musical Theatre 14, no. 3 (December 1, 2020): 273–92. http://dx.doi.org/10.1386/smt_00041_1.

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The musical Six has taken the United Kingdom by storm, earning five Olivier nominations in 2019 and crossing the pond, previewing on Broadway in the spring of 2020. Six tells the story of Henry VIII’s six wives in what the musical portrays as their own words, with a twist ‐ the six wives form a girl group performing a concert for their audience. Through a rhetorical analysis of the musical’s script, cast recording, piano/vocal score, and field notes from two performances, I argue that Six creates public memory of Catherine of Aragon, Anne Boleyn, Jane Seymour, Anna of Cleves, Katherine Howard and Catherine Parr, focusing on their individual personalities and accomplishments, rather than simply on their relationship to Henry VIII, as documented history describes them. I suggest that by doing so, Six minimizes the role of place and time in the creation of public memory. Furthermore, I argue that this creation of public memory is intertwined with Burkean identification, as theatregoers find themselves connecting with one or more of the queens as they are portrayed in Six. By combining twenty-first-century language with the stories of sixteenth-century women, Six builds consubstantiality between its characters and its audiences. This article also explores how the final number, Six, reinvents the women’s stories as they might have been if they had lived in the twenty-first century and the impact that this has on public memory. Finally, I suggest that Six is a feminist text, advocating for solidarity and the individually defined empowerment of all women.

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34

Goldmark, Daniel. "Adapting The Jazz Singer from Short Story to Screen: A Musical Profile." Journal of the American Musicological Society 70, no. 3 (2017): 767–817. http://dx.doi.org/10.1525/jams.2017.70.3.767.

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The Jazz Singer grew from a moment of inspiration when author Samson Raphaelson saw Al Jolson perform in 1917. Raphaelson's idea of a rising singer, Jack Robin, torn between sacred and secular, became in turn a short story, a play, a feature film, a novelization, and a radio play. With each new adaptation, the music evolved; the thread that binds together all of these stories is the jazz singer's stock in trade—his songs. For Jolson and The Jazz Singer, these songs serve several functions: besides providing a unique snapshot of popular vaudeville melodies in the 1920s and beyond, the songs used in the various tellings of The Jazz Singer have a specific connection to Jolson, providing numerous opportunities to retell his (largely fictionalized) origin story with the very songs he had used to make it on Broadway in the first place. We might then consider The Jazz Singer a proto–jukebox musical, in which preexisting songs with a common thread or history become the basis for a new story. Making extensive use of archival documentation and addressing previously unexamined adaptations of the story, this article shows how each version of The Jazz Singer came to be a musical summary of Jolson's life as a performer.

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Vasiliu, Alex. "The Balkan tradition in contemporary jazz. Anatoly Vapirov." Artes. Journal of Musicology 20, no. 1 (March 1, 2019): 256–64. http://dx.doi.org/10.2478/ajm-2019-0015.

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Abstract The folkloric character of the beginnings of jazz has been established by all researchers of American classical music. The African-Americans brought as slaves onto the territory of North America, the European émigrés tied to their own folkloric repertoire, the songs in the musical revues on Broadway turned national successes – can be considered the first three waves to have fundamentally influenced the history of jazz music. Preserving the classical and modern manner of improvisation and arrangement has not been a solution for authentic jazz musicians, permanently preoccupied with renewing their mode of expression. As it happened in the academic genres, the effect of experiments was mostly to draw the public away, as its capacity of understanding and empathizing with the new musical “products” (especially those in the “free” stylistic area) were discouraging. The areas which also had something original to say in the field of jazz remained the traditional, archaic cultures in Eastern Europe, Asia, the Orient. Compared to folkloric works from very distant areas, the musical culture of the Balkans bears the advantage of diversity, the ease of reception of melodies, rhythms and instrumental sonority. One of the most important architects of ethno-jazz is Anatoly Vapirov. A classically-trained musician, an author of concerts, stage music and soundtracks, a consummate connoisseur of the classical mode of improvisation as a saxophone and clarinet player, Anatoly Vapirov has dedicated decades of his life to researching the archaic musical culture of the Balkans, which he translated into the dual academic-jazz language, in the hypostases of predetermined scored works and of improvised works – either as a soloist, in combos or big bands. This study focuses on highlighting the language techniques, emphasizing the aesthetic-artistic qualities of the music signed Anatoly Vapirov.

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36

Jensen, Mary Ann, and Brooks McNamara. "The Shuberts of Broadway: A History Drawn from the Collections of the Shubert Archive." Notes 48, no. 3 (March 1992): 898. http://dx.doi.org/10.2307/941722.

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37

Whitfield, Stephen J. "Stuart J. Hecht. Transposing Broadway: Jews, Assimilation, and the American Musical. New York: Palgrave Macmillan, 2011. vii, 240 pp. - Jeffrey Magee. Irving Berlin's American Musical Theater. New York: Oxford University Press, 2012. xiii, 394 pp." AJS Review 37, no. 1 (April 2013): 140–44. http://dx.doi.org/10.1017/s036400941300010x.

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38

Clum, John M. "Enchanted Evenings: The Broadway Musical from Show Boat to Sondheim and Lloyd Webber, and: Off-Broadway Musicals, 1910–2007: Casts, Credits, Songs, Critical Reception and Performance Data of More than 1,800 Shows, and: "No Legs, No Jokes, No Chance": A History of the American Musical Theater, and: Show Tunes: The Songs, Shows, and Careers of Broadway's Major Composers (review)." Theatre Journal 63, no. 1 (2011): 131–35. http://dx.doi.org/10.1353/tj.2011.0025.

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39

Gutkin, David. "The Modernities of H. Lawrence Freeman." Journal of the American Musicological Society 72, no. 3 (2019): 719–79. http://dx.doi.org/10.1525/jams.2019.72.3.719.

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H. Lawrence Freeman's “Negro Jazz Grand Opera,” Voodoo, was premiered in 1928 in Manhattan's Broadway district. Its reception bespoke competing, racially charged values that underpinned the idea of the “modern” in the 1920s. The white press critiqued the opera for its allegedly anxiety-ridden indebtedness to nineteenth-century European conventions, while the black press hailed it as the pathbreaking work of a “pioneer composer.” Taking the reception history of Voodoo as a starting point, this article shows how Freeman's lifelong project, the creation of what he would call “Negro Grand Opera,” mediated between disparate and sometimes apparently irreconcilable figurations of the modern that spanned the late nineteenth century through the interwar years: Wagnerism, uplift ideology, primitivism, and popular music (including, but not limited to, jazz). I focus on Freeman's inheritance of a worldview that could be called progressivist, evolutionist, or, to borrow a term from Wilson Moses, civilizationist. I then trace the complex relationship between this mode of imagining modernity and subsequent versions of modernism that Freeman engaged with during the first decades of the twentieth century. Through readings of Freeman's aesthetic manifestos and his stylistically syncretic musical corpus I show how ideas about race inflected the process by which the qualitatively modern slips out of joint with temporal modernity. The most substantial musical analysis examines leitmotivic transformations that play out across Freeman's jazz opera American Romance (1924–29): lions become subways; Mississippi becomes New York; and jazz, like modernity itself, keeps metamorphosing. A concluding section considers a broader set of questions concerning the historiography of modernism and modernity.

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Zaytoun, Constance. "Enough Already!: It's Deborah Kass's Turn to Take the Stage." TDR/The Drama Review 55, no. 3 (September 2011): 110–23. http://dx.doi.org/10.1162/dram_a_00101.

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Contemporary painter Deborah Kass appropriates the forms of post-war masters such as Andy Warhol, Jackson Pollock, and Frank Stella in her work, but her subject choices are often conscious manifestations of her nostalgic identifications with middlebrow Jewish artists and Broadway musicals. Her radical take on nostalgia draws from lyrics, idiomatic sayings, and iconic Jewish figures to promote a progressive rather than conservative agenda. Kass's performative interventions insert her feminist-Jewish-lesbian self squarely at the center of visual culture's frame and on the stage of art's history.

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Auslander, Philip. "Music as Performance: Living in the Immaterial World." Theatre Survey 47, no. 2 (September 12, 2006): 261–69. http://dx.doi.org/10.1017/s004055740600024x.

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As a performance scholar and music lover, I find it strange that the fields of theatre and performance studies historically have been reluctant to engage with musical performance. Even as theatrical a musical form as opera is generally excluded from the history of theatre, on the grounds that “the predominant force in opera was the music rather than the words,” as Vera Mowry Roberts, my theatre history professor, puts the case.1 Roberts points to the nonliterary character of music as the reason for the exclusion; I speculate that the perception of music not only as nonliterary but, more broadly, as nonmimetic may seem to place it outside the realm of theatrical representation. While performance-oriented scholars spurn music, music-oriented scholars generally spurn performance. Traditional musicologists remain focused on the textual dimensions of musical compositions, whereas scholars who look at music from the perspective of cultural studies are generally more concerned with audience and reception than with the actual performance behavior of musicians.

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Rua, Colleen. "Changed for Good: A Feminist History of the Broadway Musical. By Stacy Wolf. New York: Oxford University Press, 2011. 320 pp.; illustrations. $99.00 cloth, $24.95 paper, e-book available." TDR/The Drama Review 58, no. 1 (March 2014): 174–75. http://dx.doi.org/10.1162/dram_r_00336.

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RAO, NANCY YUNHWA. "Racial essences and historical invisibility: Chinese opera in New York, 1930." Cambridge Opera Journal 12, no. 2 (July 2000): 135–62. http://dx.doi.org/10.1017/s095458670000135x.

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Describing the performances of two Chinese opera groups – the visiting famous opera singer Mai Lan-fang and his troupe on Broadway and the local San Sai Gai troupe in Chinatown – and their reception by non-Chinese Americans, this essay tracks various formations and effects of Chinese images in 1930s New York that were deeply imprinted in popular imagination. The regrettable invisibility of Chinese opera in American music history is a result of such a pre-constructed concept of Chineseness.

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Miller, Derek. "Showtime: A History of the Broadway Musical Theater. By Larry Stempel. New York: W.W. Norton & Company, Inc., 2010; 826 pp.; illustrations. $39.95 cloth, $31.87 paper. South Pacific: Paradise Rewritten. By Jim Lovensheimer. Broadway Legacies series. New York: Oxford University Press, 2010; 288 pp.; illustrations. $27.95 cloth, e-book available." TDR/The Drama Review 57, no. 1 (March 2013): 190–93. http://dx.doi.org/10.1162/dram_r_00247.

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Dyer, Jeffrey. "Popular Songs, Melodies from the Dead: Moving beyond Historicism with the Buddhist Ethics and Aesthetics of Pin Peat and Cambodian Hip Hop." Religions 11, no. 11 (November 22, 2020): 625. http://dx.doi.org/10.3390/rel11110625.

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This article illustrates how the aesthetics of two types of Cambodian music—pin peat and Cambodian hip hop—enact Cambodian–Buddhist ethics and function as ritual practices through musicians’ recollections of deceased teachers’ musical legacies. Noting how prevalent historicist and secular epistemologies isolate Cambodian and, more broadly, Southeast Asian musical aesthetics from their ethical and ritual functions, I propose that analyses focusing on Buddhist ethics more closely translate the moral, religious, and ontological aspects inherent in playing and listening to Cambodian music. I detail how Cambodian musicians’ widespread practices of quoting deceased teachers’ variations, repurposing old musical styles, and reiterating the melodies and rhythms played by artistic ancestors have the potential to function as Buddhist rituals, whether those aesthetic and stylistic features surface in pin peat songs or in hip hop. Those aesthetic practices entail a modality of being historical that partially connects with but exceeds historicism’s approach to Buddhism, temporality, and history by enacting relations of mutual care that bring the living and dead to be ontologically coeval. Such relational practices bring me to conclude with a brief discussion rethinking what post-genocide remembrance sounds like and feels like.

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Shiovitz, Brynn Wein. "Red, White, and Blue: Finding the Black Behind George M. Cohan's Patriotic Success." Congress on Research in Dance Conference Proceedings 2012 (2012): 146–53. http://dx.doi.org/10.1017/cor.2012.19.

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George M. Cohan was one of the first dancers to juxtapose tap dancing with “all-American” tunes. After his Broadway success, Little Johnny Jones, a number of American-themed musicals, books, and films based on his life and repertoire followed. Such profound influence on American entertainment demonstrates how other social histories can slip under the cloak of one man's patriotism. Currently I am researching the relationship between tap dance and nation-ness on both the visual and aural levels. This paper illumines how tap dance choreographs individual and social histories, from the black man through the white man to the nation. Throughout its history, tap dance has frequently been subject to the problem of promoting white worth and values while at the same time denigrating black accomplishments. Cohan embodies this process of covering up black accomplishments by cloaking them in white American patriotism. On the Broadway stage, Cohan represents Irish America with buck-and-wing dancing and patriotic “rags,” but does so without blackface make-up. Cohan's removal of blackface deliberately attempts to remove any trace of blackness from material he deems valuable to the nation. By removing all hints of blackness from certain steps, and juxtaposing them with patriotic ditties, Cohan constructs a dance style that America can call its own. This paper locates where and how Cohan takes credit for steps and sounds with a complicated genealogy and connection to black America by performing them on a white proscenium stage.

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HENSON, KAREN. "Black Opera, Operatic Racism and an ‘Engaged Opera Studies’." Journal of the Royal Musical Association 146, no. 1 (May 2021): 219–30. http://dx.doi.org/10.1017/rma.2020.27.

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Naomi André’s Black Opera: History, Power, Engagement is a call for recognition and inclusion. Over the course of nearly 300 pages, André covers a range of subjects, from long-forgotten concert performances, to opera, Broadway and opera film, to contemporary operatic composition and practice. As she does, she moves between the United States and South Africa – a striking way of approaching her material and a feature of the book that ought to prove highly influential. Some of the arguments she makes are new, some combine pre-existing thought and research in new ways. The most important moments, though, are when she pauses to describe her experiences or those of another black opera lover or group of black opera lovers.

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Jan, Steven. "The Evolution of a ‘Memeplex’ in Late Mozart: Replicated Structures in Pamina's ‘Ach ich fühl's’." Journal of the Royal Musical Association 128, no. 1 (2003): 30–70. http://dx.doi.org/10.1093/jrma/fkg002.

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‘Memetics’, a concept most elegantly expounded by Richard Dawkins in The Selfish Gene, asserts that human culture consists of a multitude of units transmitted between individuals by imitation and subject to evolutionary pressures. Such particles, ‘memes’, are broadly analogous to the genes of biological transmission. Four late pieces of Mozart's, including Pamina's aria ‘Ach ich fühl's’ from Die Zauberflöte, are examined in terms of the meme concept and a conglomeration, or ‘memeplex’, consisting of seven memes is identified within them. The nature of the musical memeplex, in this specific case and also more generally, is considered, particularly from the perspective of its location at different levels of the structural hierarchy. The evolutionary history of some of Mozart's memes is examined with reference to selected passages from works of the eighteenth and nineteenth centuries. Finally, relationships between the musical memes under investigation and memes in the verbal-conceptual realm are explored.

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Holmes, Sarah C. "Ethnomusicology: Global Field Recordings." Charleston Advisor 21, no. 3 (January 1, 2020): 31–33. http://dx.doi.org/10.5260/chara.21.3.31.

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Ethnomusicology Global Field Recordings is a new venture from Adam Mathew Digital: A SAGE Publishing Company. The database furnishes primary resource materials from a variety of audio field recordings, field notebooks, film footage, correspondence, educational recordings, and ephemera from over 60 ethnomusicologist field collections spanning over 70 years. Musical traditions, interviews with musicians, and assorted primary documents demonstrate how music influences and interacts with a variety of cultures. The geographic range is expansive and includes all continents. This resource is broadly inclusive covering education, art, anthropology, dance, religion, ritual, history, and gender studies.

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Gentry, Anna Wheeler. "Broadway: The American Musical (review)." Notes 63, no. 3 (2007): 679. http://dx.doi.org/10.1353/not.2007.0016.

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