View - OhioLINK ETD
... Much of the musicological interest in Bax may be derived from examining
the duality that seems to pervade his life. This duality takes on many forms,
but is perhaps most pointedly seen in his overall acceptance and appreciation
within the musical community. A conservative Romantic in the first half ...
John Zorn: Autonomy and The Avant
... New York to start his career as a performer, composer, director, author, curator, record
producer, and venue manager. Throughout his career, he has been an outspoken advocate
for his own music and the music of his peers, calling it “the true music of our time.”4 He
positions this truth as both again ...
Mental Discipline and Musical Meaning
... underlining, parentheses, and spelling. Some Japanese words have undergone changes in
Romanization, so older texts may refer to the same concept or person with a different name.
Where it seemed necessary, I have added clarification in square brackets [ ].
Foreign terms have been italicized (e.g., ho ...
Kurt Weill: the `composer as dramatist` in American musical theatre
... consider contextual aspects that have shaped or constrained the way in which
both Weill and the products of his collaborations have been received. Though
I am unwilling to perpetuate the discussion of ‗Two Weills‘ or the disputed
value of the musical any further, addressing the lingering influences ...
The Theatre of the Real - Knowledge Bank
... scream. It is the same one that Fosca sounds early in the play, while reading
alone in her room on the first night of Giorgio’s new assignment. That
scream acts as Giorgio’s introduction to the concept of Fosca, but at that
point, he does not actually meet her. The scream is an evocation of the
... over many years, those features has been so integrated into our culture that
we barely notice them. In improvised music a musician’s personal playing
style often overshadows an instrument’s idiomatic qualities, however, many
improvising musicians deliberately explore and exploit idiomatic features i ...
Romantic Exoticism: The Music of Elsewhere in the Nineteenth
... comprehensible in making the point.”7 Composers venture into other musics to create an
impact that only the foreign can; the transition into another music allows our minds to
move beyond the scope of our prosaic lives and into new frames of reference.
There are a few main reasons composers use exoti ...
Downloading - International Council for Traditional Music
... how do these activities contribute to the image of the music and dance groups
concerned, and the wider social groups to which they belong?
4. Transmission of music/dance through informal and formal education
This is an important topic for many schools, NGOs, governments, and also for
teachers in an ...
Musical Rhetoric and Sonic Composing Processes
... some composers express a desire to control audiences’ emotions and experiences through
the use of forms and careful predictions about an audience’s reactions to certain genres
and influences, other composers express a comfort with audiences composing their own
meanings from musical sounds, perhaps e ...
- International Council for Traditional Music
... works of composers of Kazakhstan remains poorly developed and not fully approved. We put forward
a new problem, which is associated with the process of formation of symphonic kuis, with the study of
the compatibility of the traditional form and the shape of kui symphonic works. I consider the
A 16 BAR CUT
... create a through-line character—a heightened, silly, professorial version of myself, but I will also
create approximately fifty additional characters used throughout the show. The vocal and dance
requirements for my track will also be numerous and demanding. And since the show travels
through the ma ...
sweeney todd - Thefloc.org
... The first musical comedies hit American stages. Edward Harrigan and Tony Hart developed
a routine that spoofed New York’s local militias called The Mulligan Shows. Musical
comedies followed this example creating comedy out of characters and situations from
Musical Dramaturgy In Late Nineteenth And Early Twentieth
... 1987; Chion, 1994; Buhler, Flinn and Neumeyer, 2000; Donnelly, 2001; Kassabian,
2001). Of these works Claudia Gorbman’s book Unheard Melodies: Narrative Film
Music (1987) occupies a seminal position in this thesis. However, while there are a few
examples and references to theatre music in Gorbman’s ...
The Musical Politics of 1920s Berlin by Dylan Neely
... revivals of social, political and aesthetic thought in post-Medieval Europe. The
assumption that these intersections existed in music at all, much less were capable of
being analyzed and interpreted, was an outlandish consideration during the Imperial
period of nineteenth century musical Romanticism ...
a Russian Orthodox hymn, played somberly by
... tradition (broadly conceived), which is my sole focus, may be as highly convention-bound as
languages are. The difference, though, is that there are no musical correlates to words, whose
meanings remain somewhat fixed regardless of context. Moreover, many of the
representational techniques I explore ...
Form, Program, and Deformation in Liszt`s Hamlet
... This is perhaps the place to emphasize that the notion of musical narrative is a deeply
problematic one, not in the last place because of the semantic indeterminacy of music.
Although I feel insufficiently equipped to engage in a discussion with the specialists on
this thorny issue,13 I agree with J ...
- White Rose eTheses Online
... serving as a lens through which more recent music might be viewed. United by a
broad conception of form as a duration that draws listeners to engage creatively
with an organising impulse, these pieces facilitate discussions of broader issues of
aural structure: continuity, repetition ...
... What to Expect in the Pages Ahead
Although this book covers some topics found on my popular educational website Musicals101.com, this text is new and more detailed. It
examines the artistic, business, and social forces in various cities and
countries that helped to forge important new ideas and tren ...
Sweeney Todd Words on Plays (2007)
... that he does not know. Todd declares that he has business of his own and takes his leave
of Anthony, indicating that he may be found in Fleet Street.
Mrs. Lovett’s pie shop, Fleet Street. Mrs. Lovett—baker of “the worst pies in London”—is
thrilled to have a customer. When Todd inquires about the vac ...
Shrek the Musical study guide
... How do you think the play will be the same or different from the movie?
Discuss good audience behavior. (look, listen, sit quietly (but laugh when it is funny!), clap/applaud at the end.
During the Play:
Look for how the different characters are portrayed on the stage.
What do they look like? How do ...
Aestheticism versus Functionalism in the Wicked
... costumes, and characters of the musical. Paul Laird’s book, Wicked: A Musical
Biography, outlines the creation of the musical, including its adaptation from Maguire’s
novel and its relationship to the 1939 film. I also used Carol de Giere’s book, Defying
Gravity: The Creative Career of Stephen Schw ...
An MS Word version
... by Klindworth, d’Albert, Lamond and others. Some of the Siloti editions of the
Tchaikovsky works belong here as well; for instance, Variations in F major.
Unsolicited intervention by the editor is especially unpleasantly surprising in those cases
where there is no reason to doubt the caliber of the ...
Music cognition and the cognitive psychology of film structure
... motion picture medium, or the photoplay as Americans
called it, and second, as the content of the film be it
story or documentary. Notably, the period just prior to
and after the First World War was the only epoch in
the Western world during which an audience encountered film first as adults rather ...
A concept musical is a musical where the show's metaphor or statement is more important than the actual narrative. Also known as a deconstructed or bookless musical, the concept musical has its roots in the plays with music that Bertolt Brecht wrote with Kurt Weill and other composers. While the genre's exact definition is debated, it is generally agreed that the concept musical's theme often provides social commentary and further room for exploration of form and structure. Characters may be isolated from one another, reflecting and commenting upon themselves through song. There is a strong focus on visual presentation, representation, and imagery when staging a concept musical.Concept musicals were first introduced in the 1940s, though two shows compete for the title of 'first concept musical:' Allegro and Love Life. The form began to flourish in the late 1960s, with the advent and subsequent popularity of Man of La Mancha, Cabaret, and Hair. Stephen Sondheim, the most prolific author of concept musicals, created Company in 1970, bringing the genre to the forefront of the commercial realm. Director-choreographer Bob Fosse and producer-director Harold Prince were equally instrumental in making defining contributions to the concept musical. Modern examples of the concept musical include Assassins and Avenue Q. Shows ranging from Fiddler on the Roof to Sweeney Todd have been argued as being concept musicals, though there is little critical agreement. The concept musical has direct ties to the megamusical, which has similar roots in the Andrew Lloyd Webber work Cats, and the similarly plotless revue. Mirroring the social upheaval of the 1960s and beyond, the concept musical as a form provided a means of expression and experimentation for musical theatre writers and audiences alike.