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The Cambridge Companion to the Musical
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    The Cambridge Companion to the Musical
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Book description

The expanded and updated third edition of this acclaimed Companion provides an accessible, broadly based survey of one of the liveliest and most popular forms of musical performance. It ranges from the American musical of the nineteenth century to the most recent productions on Broadway, in London's West End, and many other venues, and includes key information on singers, audiences, critical reception, and traditions. Contributors approach the subject from a wide variety of perspectives, including historical concerns, artistic aspects, important trends, attention to various genres, the importance of stars, the influence of race, the various disciplines of theatrical production, the musical in varied media, and changes in technology. Chapters related to the contemporary musical have been updated, and two new chapters cover the television musical and the British musical since 1970. Carefully organised and highly readable, it will be welcomed by enthusiasts, students, and scholars alike.

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Cynthia Adams Hoover , ‘Music in Eighteenth-Century American Theater’, American Music, 2/4 (1984): 67

Thomas Riis , ‘The Music and Musicians in Nineteenth-Century Productions of Uncle Tom’s Cabin, American Music, 4/3 (1986): 268–69

Norris , ‘Opera and the Mainstreaming of Blackface Minstrelsy’, Journal of the Society for American Music 1/3 (2007): 341–65

David Mayer , ‘The Music of Melodrama’, in Performance and Politics in Popular Drama, ed. David Bradby , Louis James and Bernard Sharratt (Cambridge, 1980), pp. 4950

Katherine K. Preston , ‘”The People’s Prima Donna”: Emma Abbott and Opera for the People’, Journal of the Gilded Age and Progressive Era 13/1 (2014)

Koegel , ‘Mexican Musicians in California and the United States, 1910–1950’, California History, 84/1 (2006): 729, 6469

John Koegel , ‘Adolf Philipp and Ethnic Musical Comedy in New York’s Little Germany’, American Music, 24/3 (2006): 267319

Helen Smith , There’s a Place for Us: The Musical Theatre Works of Leonard Bernstein (Farnham, Surrey and Burlington, VT, 2011)

Megan Terry and Peter L. Friedman , ‘Viet Rock’, The Tulane Drama Review 11/2 (Autumn 1966): 196228

Ellen Marie Peck , ‘Artistic Freedom through Subsidy: The British Model of Reviving American Musicals’, Studies in Musical Theatre 5/1 (2011): 95

Alex Sierz , ’Changing Stories, Changing Things: Dennis Kelly and Alexandra Wood in Conversation with Alex Sierz’, Journal of Adaptation in Film and Performance 7/2 (2014): 254

Rick A. Simas , ‘Floyd Collins (review)’, Theatre Journal 51/4 (1999): 465

Jeffrey Magee , ‘Irving Berlin’s “Blue Skies”: Ethnic Affiliations and Musical Transformations’, Musical Quarterly, 84 (2000): 537–80

Stephen Banfield , ‘Popular Song and Popular Music on Stage and Film’, in The Cambridge History of American Music, ed. David Nicholls (Cambridge, 1998), pp. 309–44.

439 Geoffrey Block , ‘The Broadway Canon from Show Boat to West Side Story and the European Operatic Ideal’, Journal of Musicology, 11/4 (1993), pp. 525–44.

Eugene K. Bristow , and J. Kevin Butler , ‘Company, About Face! The Show that Revolutionized the American Musical’, American Music, 5/3 (1987), pp. 241–54.

William Brooks , ‘Pocahontas, Her Life and Times’, American Music, 2/4 (1984), pp. 1948.

T. Allston Brown , A History of the New York Stage, 3 vols (New York, 1903).

Dale Cockrell , ‘Nineteenth-Century Popular Music’, in The Cambridge History of American Music, ed. David Nicholls (Cambridge, 1998), pp. 158–85.

William A. Everett , ‘Golden Days in Old Heidelberg: The First-Act Finale of Romberg’s The Student Prince’, American Music, 12/3 (1994), pp. 255–82.

William A. Everett , Sigmund Romberg (New Haven, 2007).

Robert Gordon (ed.), The Oxford Handbook of Sondheim Studies (New York, 2014).

Neil Gould , Victor Herbert: A Theatrical Life (New York, 2008).

Charles Hamm , ‘The Theatre Guild Production of Porgy and Bess’, Journal of the American Musicological Society, 40/3 (1987), pp. 495532.

Stuart Hecht , Transposing Broadway: Jews, Assimilation, and the American Musical (New York, 2011).

444 Barbara Lee Horn , The Age of ‘Hair’: Evolution and Impact of Broadway’s First Rock Musical (New York and Westport, CT, 1991).

Mark Eden Horowitz , Sondheim on Music: Minor Details and Major Decisions (Lanham, MD, 2003, 2010).

John Koegel , ‘Adolf Philipp and Musical Comedy on the German-American Stage in New York, 1890–1918’, American Music 24/3 (2006), pp. 267319.

Jim Lovensheimer , ‘South Pacific’: Paradise Rewritten (New York, 2010).

Miranda Lundskaer-Nielsen , Directors and the New Musical Drama: British and American Musical Theatre in the 1980s and 90s (Houndmills, Basingstoke and New York, 2008).

Jeffrey Magee , ‘“Everybody Step”: Irving Berlin, Jazz, and Broadway in the 1920s’, Journal of the American Musicological Society, 59/3 (2006), pp. 697732.

David Mayer , ‘The Music of Melodrama’, in Performance and Politics in Popular Drama, eds David Bradby , Louis James and Bernard Sharratt (Cambridge, 1980), pp. 4963.

Harold Meyerson , and Ernie Harburg , Who Put the Rainbow in ‘The Wizard of Oz’?: Yip Harburg, Lyricist (Ann Arbor, MI, 1993).

Ethan Mordden , Anything Goes: A History of American Musical Theatre (New York, 2013).

Carol Oja , Bernstein Meets Broadway: Collaborative Art in a Time of War (New York, 2014).

Vicki Ohl , Fine and Dandy: The Life and Work of Kay Swift (New Haven, 2004).

Howard Pollack , Marc Blitzstein: His Life, His Work, His World (New York, 2012).

Susan L. Porter , ‘English–American Interaction in American Musical Theater at the Turn of the Nineteenth Century’, American Music, 4/1 (1986), pp. 619.

Katherine K. Preston , ‘Art Music from 1800 to 1860’, in The Cambridge History of American Music, ed. David Nicholls (Cambridge, 1998), pp. 186213.

Thomas L. Riis , ‘The Music and Musicians in Nineteenth-Century Productions of Uncle Tom’s Cabin’, American Music, 4/3 (1986), pp. 268–86.

Timothy E. Scheuer , ‘The Beatles, The Brill Building, and the Persistence of Tin Pan Alley in the Age of Rock’, Popular Music and Society, 20 (1996), pp. 89102.

Anne Dhu Shapiro , ‘Melodrama’, ‘Music in American Pantomime and Melodrama, 1730–1913’, American Music, 2/4 (1984), pp. 4972.

452 Helen Smith , There’s a Place for Us: The Musical Theatre Works of Leonard Bernstein (Farnham, Surrey and Burlington, VT, 2011).

Dominic Symonds , We’ll Have Manhattan: The Early Work of Rodgers and Hart (New York, 2015).

Millie Taylor , Musical Theatre, Realism and Entertainment (Farnham, Surrey and Burlington, VT, 2012).

Stacy Wolf , Changed for Good: A Feminist History of the Broadway Musical (New York, 2011).

Victor Fell Yellin , ‘Rayner Taylor’s Music for The Aethiop, Part I: Performance History’, American Music, 4 (1986), pp. 249–67.


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