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Libros sobre el tema "Televisioni musicali"

Autor: Grafiati
Publicado: 10 de marzo de 2023

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1

Kenrick, John. Musicals 101.com: The cyber encyclopedia of musical theatre, TV, and film. [New York?]: J. Kenrick, 1996.

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2

Hischak, Thomas S. The Oxford companion to the American musical: Theatre, film, and television. New York: Oxford University Press, 2008.

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3

1937-, Deutsch Didier C., ed. VideoHound's soundtracks: Music from the movies, Broadway, and television. Detroit: Visible Ink Press, 1998.

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4

Lynch, Richard Chigley. TV and studio cast musicals on record: A discography of television musicals and studio recordings of stage and film musicals. New York: Greenwood Press, 1990.

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5

Broadway, movie, TV, and studio cast musicals on record: A discography of recordings, 1985-1995. Westport, Conn: Greenwood Press, 1996.

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6

Ott, Dorothee. Musical- und Tanzfilm. Stuttgart: Reclam, 2014.

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7

Thomas, Scott. All in This Together: The Unofficial Story of High School Musical. Toronto: ECW Press, 2007.

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8

Television musicals: Plots, critiques, casts, and credits for 222 shows written for and presented on television, 1944-1996. Jefferson, N.C: McFarland, 1997.

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9

Koeppel, Ruth. Hannah Montana: Fabulous friends : storybook & musical microphone. Pleasantville, N.Y: Reader's Digest Children's Books, 2008.

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10

Karim, Haryati Abdul. Malaysian adolescents and MTV: A search for identity. Kota Kinabalu, Sabah: Penerbit UMS, 2007.

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11

Musica in programma: Quarant'anni di divulgazione musicale in Rai-tv (1954-94). Udine: Nota, 2020.

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12

Steve, Harris. Film, television, and stage music on phonograph records: A discography. Jefferson, N.C: McFarland, 1988.

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13

Astaire dancing: The musical films. New York: Knopf, 1985.

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14

Astaire dancing: The musical films. New York: Wings Books, 1991.

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15

Lo spettacolo dei Promessi sposi: Edizioni rare, sceneggiati, musical e parodie. Cinisello Balsamo, Milano: Silvana editoriale, 2014.

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16

Saunders, Catherine. High School Musical: The Essential Guide. New York: DK Publishing, 2008.

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17

Hunt, Gordon. How to audition: For TV, movies, commercials, plays, and musicals. New York, N.Y: HarperPerennial, 1995.

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18

La revolucion Rebelde. España: Mondadori, 2007.

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19

Kurp, Matthias. Musikfernsehen in Deutschland: Politische, soziologische und medienökonomische Aspekte. Wiesbaden: Westdeutscher Verlag, 2002.

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20

Baptie, David. A handbook of musical biography (1883). Clarabricken: Reproduced under the direction of Leslie Hewitt for Boethius Press, 1986.

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21

American plays and musicals on screen: 650 stage productions and their film and television adaptations. Jefferson, N.C: McFarland & Co., 2005.

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22

Vasiliu, Laura. Musicologia şi jurnalismul : prezenţa muzicii clasice in media românească de după 1989. Iaşi: Artes, 2007.

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23

Musicologia şi jurnalismul : prezenţa muzicii clasice in media românească de după 1989. Iaşi: Artes, 2007.

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24

1956-, Landau David, ed. The Altos: Like "The Sopranos" only lower! : an interactive comic mystery. New York: Samuel French, 2008.

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25

1955-, Schuster Hal, ed. Files magazine spotlight on Monkees. San Bernardino, Calif: Borgo Press, 1986.

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26

Vi ravviso, o luoghi ameni: Vincenzo Bellini nel cinema e nella televisione. Reggio Calabria: Città del sole, 2007.

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27

Waterman, Bryan. Marquee moon. New York: Continuum, 2011.

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28

Stilwell, Robynn J. The Television Musical. Oxford University Press, 2011. http://dx.doi.org/10.1093/oxfordhb/9780195385946.013.0012.

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29

Staff, Hal Leonard Corp. Glee: The Music - the Warblers. Leonard Corporation, Hal, 2011.

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30

Staff, Hal Leonard Corp. Glee: The Music Presents Glease. Leonard Corporation, Hal, 2012.

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31

MusicHound soundtracks: The essential album guide to film, television and stage music. Detroit: Visible Ink Press, 2000.

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32

The Oxford Companion to the American Musical: Theatre, Film, and Television. Oxford University Press, USA, 2008.

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33

Gordon, Robert. Introduction. Editado por Robert Gordon. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780195391374.013.0028.

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This book examines how Stephen Sondheim’s work with several collaborators has altered the course of musical theater history in the United States. Consisting of twenty-seven chapters, it considers problematic questions of authorship within the framework of Broadway musical theater, focusing on intertextuality, direct influence, and original innovation. It discusses how Sondheim has integrated his aesthetic ideals and the postmodern sensibility informing his musicals, fromCompanytoRoad Show, with the commercial values of the Broadway musical. It also looks at Oscar Hammerstein II’s formative influence as mentor to the young Sondheim, the reorchestration of Sondheim’s musicals for different (and smaller) groups of musicians, the notion of the musical as a performance event, the politics of Sondheim performance in the United States, Sondheim’s interest in and sensitivity to audiovisual media such as cinema and television, and his subtle and often ironic exploitation of pastiche and parody. Furthermore, the book addresses questions of cultural, political, and personal identity posed by Sondheim’s musicals in the context of contemporary American society.
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34

Gordon, Robert, ed. The Oxford Handbook of Sondheim Studies. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780195391374.001.0001.

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This book examines the scope and ambition of Stephen Sondheim’s musicals by drawing on the perspectives of musicological and dramaturgical scholars, literary and film critics, and musical theater practitioners. Consisting of twenty-seven essays, it analyzes Sondheim’s radical re-invention of the artistic form of the Broadway musical in response to various traditions of artistic innovation and popular entertainment and how his work with several collaborators has radically transformed the history of American musical theatre. It explores problematic questions of authorship peculiar to the cultural milieu of Broadway musical theater by focusing on intertextuality in works ranging from Anthony Shaffer’s Sleuth (1970) to the film Hangover Square (1945) and Johann Sebastian Bach’s St Matthew Passion. It also probes the dramaturgical technique of songs that enable comic performers to act out the logic of character and plot in a meta-theatrical style and discusses the notion of the musical as a performance event, patterns of interpretation in the repeated performance of Sondheim’s musicals in the United Kingdom, the pleasures and challenges of performing these musicals in international opera houses, Sondheim’s work for cinema and television and his “cinematic” approach to musical theater, and his subtle and often ironic exploitation of genre conventions such as pastiche and parody. Finally, the book considers questions of cultural, political, and personal identity raised by Sondheim’s musicals in relation to contemporary American society.
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35

Flinn, Caryl. The Mutating Musical and the Sound of Music. Editado por John Richardson, Claudia Gorbman y Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.033.

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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. Musicals have always enjoyed a rich cross-media history, and changing technologies help maintain that tradition. Today television and digital cultures offer compelling new generic formats. No longer large stage and screen productions, musicals now appear through smaller, decentralized forms and platforms, providing the premise of television series, reality shows, and music videos, or appearing as small performances on YouTube. This chapter follows the afterlife of the iconic film musicalThe Sound of Music(dir. Robert Wise, 1965) to explore how these new articulations—fragmented and less loyal to the original than previous revivals or reruns—create the potential for diverse and local audiences that the original musical never addressed. These “mutating musicals” can give rise to different, smaller-scale “utopias” and fantasies, affective by-products that reveal a genre whose parameters have grown looser and more capacious at the end of the twentieth century.
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36

Raykoff, Ivan. Liberace’s Musical/Material Appeal. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780199935321.013.175.

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Inspired by the celebrated pianist-bandleaders Eddy Duchin and Carmen Cavallaro and the cinematic technique of José Iturbi in Hollywood films, pianist-entertainer Liberace (1919–1987) developed a distinctive and highly successful aesthetic and performance style that prioritized visual spectacle and emphasized the tactile elements of his playing. As evident in his first Soundies from 1943, then his nationally syndicated television show in the 1950s, Liberace highlighted the physicality and materiality of his music-making, an approach that later evolved into the signature props and flashy costumes of his live stage shows. The new medium of television enabled Liberace to integrate the traditions of Romantic pianism with new genres of popular music in a highly embodied manner that appealed to his fans as much as it bothered his critics invested in music’s physical and material transcendence.
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37

Thomas, Scott. All in This Together: The Unofficial Story of "High School Musical". Ecw Press, 2007.

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38

Edward, Gross y Scott Thomas. All in This Together: The Unofficial Story of High School Musical. ECW Press, 2010.

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39

Hal Leonard Publishing Corporation (COR). HIGH SCHOOL MUSICAL 2 (Pvg). HAL LEONARD CORPORATION, 2007.

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40

Hal Leonard Publishing Corporation (COR). 323. High School Musical. Hal Leonard Corporation, 2008.

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41

High School Musical 3. Leonard Corporation, Hal, 2008.

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42

Hal Leonard Publishing Corporation (COR). High School Musical 2. HAL LEONARD CORPORATION, 2007.

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43

Staff, Hal Leonard Corp. High School Musical 3. Leonard Corporation, Hal, 2008.

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44

Austin City Limits: A Musical Phenomenon. Oxford University Press, Incorporated, 2014.

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45

Staff, Hal Leonard Corp. Glee: The Music - the Christmas Album, Volume 2. Leonard Corporation, Hal, 2012.

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46

Broadway in the Box: Television's Lasting Love Affair with the Musical. Oxford University Press, Incorporated, 2020.

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47

Kessler, Kelly. Broadway in the Box: Television's Lasting Love Affair with the Musical. Oxford University Press, Incorporated, 2020.

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48

Winkler, Kevin. Comic Relief. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199336791.003.0005.

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This chapter focuses on Bob Fosse’s work on the musicals How to Succeed in Business without Really Trying and Little Me. Though now established as a director-choreographer, Fosse still harbored ambitions as a performer. He played the title role in Pal Joey at New York’s City Center, a role he had first played a decade earlier. In How to Succeed in Business without Really Trying, Fosse’s musical staging satirized 1960s corporate and sexual politics and was a key ingredient in its long-running success. He choreographed and co-directed (with Cy Feuer) Little Me, a revue-style vehicle for Sid Caesar, and his dances, featuring vaudeville and burlesque pastiches, captured the breezy exuberance of television variety show production numbers of the period. These two shows were emblematic of Kennedy-era confidence and high spirits, demonstrating Fosse’s mastery of comic musical staging.
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49

Caps, John. Back to Television? University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036736.003.0011.

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This chapter details Mancini's return to television. Mancini was offered his own TV series, to be called The Mancini Generation, on which he would discuss and demonstrate film music to a syndicated audience. Undertaking the series was a colossal commitment. The music materials were drawn from his whole backlog of arrangements alongside some new charts, but in addition to the musical rehearsals there were camera rehearsals and host-segment preparations all of which were shot together during one four-week period and then sliced up for insertion into the shows. Unique to each show was a sequence during which Mancini invited one college student enrolled in a film course at some university across the country to take a past Mancini recording and conceive, shoot, and edit an experimental film based on the music. The short films, then, were shown on the program, and Mancini used the opportunity to push support for film and film-scoring study courses in schools of the future. The Mancini Generation was eventually seen on 150 stations nationwide and also led to an RCA album sporting the series title, his first jazz-pop album since the 1960s.
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50

TV Theme Book (A Musical History of Television 1948 to 1984). Warner Bros Pubns, 1985.

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