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The rise and fall of the Broadway musical / Mark N. Grant.

By: Material type: TextTextPublisher: Boston : Northeastern University Press, [2004]Copyright date: ©2004Description: x, 365 pages : illustrations ; 25 cmContent type:
  • text
Media type:
  • unmediated
Carrier type:
  • volume
ISBN:
  • 1555536239
  • 9781555536237
Subject(s): DDC classification:
  • 782.14097471 22
LOC classification:
  • ML1711.8.N3 G727 2004
Contents:
Act 1. From soaring divas to growling rockers : how changes in singing forged and felled the show tune -- Scene one : before the microphone -- Scene two : after the microphone -- Act 2. How mavericks, highbrows, and enlightened collectivism invented the book and lyrics and tweaked the music -- Scene one : the book -- Scene two : the lyrics -- Scene three : the music -- Act 3. Revolutions in Broadway rhythm : how the rock groove decomposed the musical and dismantled the fourth wall -- Scene one : era of the march -- Scene two : the Foxtrot and rhythm section revolution -- Scene three : the rock groove cataclysm -- Act 4. The loudspeakers are alive with the sound of music : how electronics trumped the artful acoustics of Broadway -- Scene one : orchestrators -- Scene two : sound design -- Act 5. Wagging the musical : how director-choreographers co-opted a writer's medium -- Scene one : from The black crook to Balanchine -- Scene two : apex : Agnes de Mille, Jerome Robbins, and playwrighting choreography -- Scene three : decline : directors and choreographers as conceptual showmen -- Rideout : the age of McMusicals : Vaudeville redux.
Review: "Mark N. Grant thoroughly investigates all aspects of the Broadway musical as he traces the transformation of singing and melody, libretto and lyric writing, dance rhythms, sound design, and choreography and stage direction through three distinct eras: the formative period (1866-1927), the golden age (1927-1966), and the fall (1967 to the present). He explores how and why the unsophisticated genre of pre-1920s musical comedy evolved into the creative, innovative, and immensely popular theater produced by the likes of Rodgers and Hammerstein, and then steadily faded as a significant entertainment genre in American culture."--BOOK JACKET.
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Includes bibliographical references (pages 329-337) and index.

Act 1. From soaring divas to growling rockers : how changes in singing forged and felled the show tune -- Scene one : before the microphone -- Scene two : after the microphone -- Act 2. How mavericks, highbrows, and enlightened collectivism invented the book and lyrics and tweaked the music -- Scene one : the book -- Scene two : the lyrics -- Scene three : the music -- Act 3. Revolutions in Broadway rhythm : how the rock groove decomposed the musical and dismantled the fourth wall -- Scene one : era of the march -- Scene two : the Foxtrot and rhythm section revolution -- Scene three : the rock groove cataclysm -- Act 4. The loudspeakers are alive with the sound of music : how electronics trumped the artful acoustics of Broadway -- Scene one : orchestrators -- Scene two : sound design -- Act 5. Wagging the musical : how director-choreographers co-opted a writer's medium -- Scene one : from The black crook to Balanchine -- Scene two : apex : Agnes de Mille, Jerome Robbins, and playwrighting choreography -- Scene three : decline : directors and choreographers as conceptual showmen -- Rideout : the age of McMusicals : Vaudeville redux.

"Mark N. Grant thoroughly investigates all aspects of the Broadway musical as he traces the transformation of singing and melody, libretto and lyric writing, dance rhythms, sound design, and choreography and stage direction through three distinct eras: the formative period (1866-1927), the golden age (1927-1966), and the fall (1967 to the present). He explores how and why the unsophisticated genre of pre-1920s musical comedy evolved into the creative, innovative, and immensely popular theater produced by the likes of Rodgers and Hammerstein, and then steadily faded as a significant entertainment genre in American culture."--BOOK JACKET.

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