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Brannigan P: Valhalla!

Valhalla!

The A to Z of Led Zeppelin

David Bowie and the Search for Life, Death and God

Wild is the Wind

Revelations on Stage

Bliss and Dance

Devil in a Coma

A Life in Music

To Be Or Not To Be

The Music, Culture and World De La Soul Made

Living in a D.A.I.S.Y. Age

Exploring Class Consciousness in Heavy Metal Music

Stained Class

A life story

Bless Me Father

Ashgate Interdisciplinary Studies in Opera

Although Gustav Holst is rarely thought of as an opera composer, his operatic works provide a gateway to the exploration of how a budding opera composer negotiated the British operatic world across his career and how his synthesis of a myriad of cultural influences in his operatic works affected his reputation and success as a composer. This interdisciplinary study provides a kaleidoscopic view of how overlapping and often contradictory cultural influences such as imperialism, religion, literature, indigenous theatre, philosophy, folk culture, nationalism, and historiography are reflected in Holst's operas and figure into his reception as a composer of operas.

Although Gustav Holst is rarely thought of as an opera composer, his operatic works provide a gateway to the exploration of how a budding opera composer negotiated the British operatic world across his career and how his synthesis of a myriad of cultural influences in his operatic works affected his reputation and success as a composer. This interdisciplinary study provides a kaleidoscopic view of how overlapping and often contradictory cultural influences such as imperialism, religion, literature, indigenous theatre, philosophy, folk culture, nationalism, and historiography are reflected in Holst’s operas and figure into his reception as a composer of operas.

From Bayreuth to Aldeburgh

Gustav Holst and British Operatic Culture

Analyzes the relationship between Charles Manson, music, and 1960's counterculture.

The Beatles, the Beach Boys, and the Invention of the Sixties —or, No Sense Makes Sense

The Musical Lives of Charles Manson

A Portrait of Joni Mitchell in 53 Snapshots

I Dream of Joni

Kids, Wait Till You Hear This!

Discover John Kander and Fred Ebb, the most artistically and commercially successful musical theatre writing team since Rodgers and Hammerstein, in a brand new way. Identifying the theatrical approach that renders their musical dramaturgy unique, this book explores their importance within, and contribution to, musical theatre history. Through their biggest hits, Cabaret (1966) and Chicago (1975), Kander and Ebb have been performed on the stage more times both within and outside of the USA than any other American musical theatre writers. Unlike Sondheim, whose work from 1964 increasingly aspired towards the avant-garde, Kander and Ebb located their projects in a nexus between art and commercial entertainment, seeking to deconstruct popular forms in order to expose their ideological function. This book investigates the full range of Kander and Ebb's collaboration from the pure comic entertainment of 70, Girls, 70 (1971) and Curtains (2006) to more overtly serious musicals such as Kiss of the Spiderwoman (1992), The Scottsboro Boys (2010) and The Visit (2014), which were less commercially successful precisely because they addressed disturbing subjects. It explores how the difficult material inspired beautiful, though challenging, scores. It also probes how the ironic counterpointing of luscious music with witty and demotic lyrics challenges the desire of a Broadway audience for escapist entertainment, devoid of critical self-reflection, in order to create complex, yet popular, masterpieces of the genre. This is the first volume to explicitly analyse the recurrent theatrical tropes and dramaturgical forms in Kander and Ebb's musicals, offering an in-depth introduction to their oeuvre.

Discover John Kander and Fred Ebb, the most artistically and commercially successful musical theatre writing team since Rodgers and Hammerstein, in a brand new way. Identifying the theatrical approach that renders their musical dramaturgy unique, this book explores their importance within, and contribution to, musical theatre history. Through their biggest hits, Cabaret (1966) and Chicago (1975), Kander and Ebb have been performed on the stage more times both within and outside of the USA than any other American musical theatre writers. Unlike Sondheim, whose work from 1964 increasingly aspired towards the avant-garde. Kander and Ebb located their projects in a nexus between art and commercial entertainment, seeking to deconstruct popular forms in order to expose their ideological function. This book investigates the full range of Kander and Ebb's collaboration from the pure comic entertainment of 70, Girls, 70 (1971) and Curtains (2006) to more overtly serious musicals such as The Kiss of the Spiderwoman (1992), The Scottsboro Boys (2010) and The Visit (2014), which were less commercially successful precisely because they addressed disturbing subjects. It explores how the difficult material inspired beautiful, though challenging, scores. It also probes how the ironic counterpointing of luscious music with witty and demotic lyrics makes complex demands of a Broadway audience, challenging its desire for escapist entertainment, devoid of critical self-reflection, to becomes complex, yet popular, masterpieces of the genre. This is the first volume to explicitly analyse the recurrent theatrical tropes and dramaturgical forms in Kander and Ebb's musicals, offering an in-depth introduction to their oeuvre.

The Theatre of Kander and Ebb

Valhalla!

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