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Bradley I: Music of the Night

Music of the Night

Religious Influences and Spiritual Resonances in Operetta and Musical Theatre

A Critical Companion

Jason Robert Brown

Elements in Musical Theatre

This Element compares productions of Offenbach's Belle Hélène and Kálmán's Herzogin von Chicago, considering their choices regarding plot, text, performance style, music, and costumes and sets. In every case, there is some reinterpretation involved. Some versions tweak the original while others expand and alter it in a full Regietheater approach.

The Rebirth of Satire in Revivals of European Operettas

The British Musical from Noël Coward to Lionel Bart

Reviewing the Situation

Opera Lab: Explorations in History, Technology, and Performance

Opera and the Built Environment

Oxford Music / Media

Following the first volume on Dmitry Shostakovich's early career and his emergence as the first composer for Soviet Russian cinema, this book examines Shostakovich's continued development as a film composer and his navigation of Stalinist cultural politics from 1936 to 1953.

Dmitry Shostakovich and Music for Stalinist Cinema (1936-1953)

Elements in Music since 1945

Sonic Ghosts

Cage, Nono and 1960s Hauntology

In a country divided by war and racism, a group of middlebrow critics believed that art could heal society by blending high art, folk, and popular culture, thereby uniting the separate audiences for each genre. Their work culminated in a new kind of musical theater that appeared on Broadway during the 1940s, including Rodgers and Hammerstein's Oklahoma!, Duke Ellington's Beggar's Holiday, and Kurt Weill's Street Scene. Ultimately, The Middlebrow Musical unsettles seemingly familiar concepts such as high art and pop culture, and invites readers to reconsider how past writers and musicians have invoked these categories toward civic ends.

Between Broadway and Opera in 1940s America

The Middlebrow Musical

New Cultural History of Music

Visions of the Village offers a new look at the cultural, social, and political context of operas by some of the most famous Czech composers in history. Beginning the study in the works of the 1860s, author Christopher Campo-Bowen analyzes the work of Bed%rich Smetana, Antonín Dvo%rák, and Leoš Janá¿ek, among others, demonstrating how Czech identity was constructed through reference to operatic representations of idealized village life.

Ruralness, Identity, and Czech Opera

Visions of the Village

Gypsy, the groundbreaking 1959 Broadway musical by Jule Styne, Stephen Sondheim, and Arthur Laurents, introduced the world of musical theater to one of the most formidable female characters ever to strut onto the stage: Madam (Momma) Rose. She embodies the archetypal "stage mother" whose lifelong journey to achieve fame, enacted vicariously through her daughters and their vagabond life across America, drives her to a "madness" akin to that of the quintessential operatic madwoman. Her famous mad scene, "Rose's Turn," demonstrates the many analytical possibilities intrinsic to this character definition. The creators of Gypsy's Rose thus showcased the "Broadway musical madwoman" type: a female character who, like her foremother the operatic madwoman, is rife with gendered complexity that creates a fascinating opportunity for feminist analytical study. This Element's two-pronged approach uses the frameworks of feminist theory and musicological analysis to consider the importance, legacy, and reception of Rose's journey.

A Feminist Analysis

Gypsy and the Broadway Musical Madwoman

The Study of Sound

Bringing concepts from early film theory into dialogue with the vibrant field of contemporary sound studies, Wild Sound turns an analytic eye and ear to the role of the soundscape in cinema, particularly the way that film soundtracks capture, create, represent, and even critique our sonic environment. Listening beyond music and dialogue, this book draws attention to the oft-ignored background soundscape-film's "wild sound"-which plays a quiet but substantial role in determining how film audiences feel about certain places, people, and processes. It explores the relationship between location sound and wider practices of phonographic field recording in the creation of a cinematic sonic environment. The latter half of the book shifts attention from from the controlled soundscapes of cinema to the relatively chaotic sonic environments of the world around us. Michael Pigott ultimately demonstrates how a theory of cinematic soundscapes helps us develop practical strategies for investigating the sonic environment in our personal and natural sound worlds, beyond the cinema auditorium.

Wild Sound

My journey back to centre stage

Encore

Korngold in America offers new ways of listening to Viennese composer Erich Wolfgang Korngold's scores to Warner Bros. films, exploring their relationship with his wider compositional output. Drawing on previously unpublished archival materials, the book provides a complete picture of Korngold's film-scoring activities and dismantles many of the myths about the composer. It argues for a reassessment of Korngold, and for a newfound significance for his film scores in twentieth-century music history.

Music, Myth, and Hollywood

Korngold in America

Music of the Night

Informations bibliographiques

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