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The musical as drama : a study of the principles and conventions behind musical shows from Kern to Sondheim

Author: Scott McMillin
Publisher: Princeton, N.J. : Princeton University Press, [2006] ©2006
Edition/Format:   eBook : Document : EnglishView all editions and formats
Summary:
"Derived from the colorful traditions of vaudeville, burlesque, revue, and operetta, the musical has blossomed into America's most popular form of theater. Scott McMillin has developed a fresh aesthetic theory of this underrated art form, exploring the musical as a type of drama deserving the kind of critical and theoretical regard given to Chekhov or opera. Until recently, the musical has been considered either an
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Genre/Form: Electronic books
Criticism, interpretation, etc
Additional Physical Format: Print version:
McMillin, Scott, 1934-2006.
Musical as drama
(DLC) 2006005429
(OCoLC)64098525
Material Type: Document, Internet resource
Document Type: Internet Resource, Computer File
All Authors / Contributors: Scott McMillin
ISBN: 9781400865406 1400865409 0691164622 9780691164625
OCLC Number: 894227096
Reproduction Notes: Electronic reproduction. [S.l.] : HathiTrust Digital Library, 2011. MiAaHDL
Description: 1 online resource (xvi, 230 pages) : illustrations
Details: Master and use copy. Digital master created according to Benchmark for Faithful Digital Reproductions of Monographs and Serials, Version 1. Digital Library Federation, December 2002.
Contents: Integration and difference --
The book and the numbers --
Character and the voice of the musical --
The ensemble effect --
The drama of numbers --
The orchestra --
Narration and technology : systems of omniscience --
What kind of drama is this?
Responsibility: Scott McMillin.
More information:

Abstract:

"Derived from the colorful traditions of vaudeville, burlesque, revue, and operetta, the musical has blossomed into America's most popular form of theater. Scott McMillin has developed a fresh aesthetic theory of this underrated art form, exploring the musical as a type of drama deserving the kind of critical and theoretical regard given to Chekhov or opera. Until recently, the musical has been considered either an "integrated" form of theater or an inferior sibling of opera. McMillin demonstrates that neither of these views is accurate, and that the musical holds true to the disjunctive and irreverent forms of popular entertainment from which it arose a century ago."

"Discussing composers and writers such as Rodgers and Hammerstein, Stephen Sondheim, Kander and Ebb, Leonard Bernstein, and Jerome Kern, The Musical as Drama describes the continuity of this distinctively American dramatic genre, from the shows of the 1920s and 1930s to the musicals of today."--Jacket.

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Winner of the 2007 George Jean Nathan Award for Dramatic Criticism "A scholarly work, with good supporting bibliographic footnotes, this book merits serious study... Highly recommended."--Choice Read more...

 
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