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.
Critics and composers have long held the musical to the standards applied to opera, asserting that each piece should work together to create a seamless drama. But McMillin argues that the musical is a different form of theater, requiring the suspension of the plot for song. The musical's success lies not in the smoothness of unity, but in the crackle of difference. While disparate, the dancing, music, dialogue, and songs combine to explore different aspects of the action and the characters.
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.
Oxford Anthology of Western Music: Volume 2: The Mid-Eighteenth Century to the Late-Nineteenth Century
Print and recorded volumes from the Oxford Anthology of Western Music can be bundled with Richard Taruskin and Christopher H. Gibbs's The Oxford History of Western Music, College Edition, Second Edition, a t a discount. Contact your Oxford University Press Representative or call 800.280.0280 for details. The three-volume Oxford Anthology of Western Music is conveniently available in print format along with streaming audio recordings, replacing the physical CD sets of the previous edition.
It began when immigrants in New York's Lower East Side heard black jazz and blues-and it surged into an artistic torrent nothing short of miraculous. Broke but eager, Izzy Baline transformed himself into Irving Berlin, married an heiress, and embarked on a string of hits from "Always" to "Cheek to Cheek." Berlin's spiritual godson George Gershwin, in his brief but incandescent career, straddled Tin Pan Alley and Carnegie Hall, charming everyone in his orbit. Possessed of a world-class ego, Gershwin was also generous, exciting, and utterly original. Half a century later, Gershwin love songs like "Someone to Watch Over Me," "The Man I Love," and "Love Is Here to Stay" are as tender and moving as ever.
Sheed also illuminates the unique gifts of the great jazz songsters Hoagy Carmichael and Duke Ellington, conjuring up the circumstances of their creativity and bringing back the thrill of what it was like to hear "Georgia on My Mind" or "Mood Indigo" for the first time. The Golden Age of song sparked creative breakthroughs in both Broadway musicals and splashy Hollywood extravaganzas. Sheed vividly recounts how Cole Porter, Richard Rodgers, Jerome Kern, and Johnny Mercer spread the melodic wealth to stage and screen.
Popular music was, writes Sheed, "far and away our greatest contribution to the world's art supply in the so-called American Century." Sheed hung out with some of the great artists while they were still writing-and better than anyone, he knows great music, its shimmer, bite, and exuberance. Sparkling with wit, insight, and the grace notes of wonderful songs, "The House That George Built "is a heartfelt, intensely personal portrait of an unforgettable era.
A delightfully charming, funny, and most illuminating portrait of songwriters and the Golden Age of American Popular Song. Mr. Sheed's carefully chosen depictions and anecdotes recapture that amazingly creative period, a moment in time in which I was so fortunate to be surrounded by all that magic."
The Art of Quartet Playing: The Guarneri Quartet in Conversation with David Blum (Cornell Paperbacks)
If nobody wants him, that's fine.He'll just take care of himself.
When his father dies, Dave knows nothing will ever be thesame. And then it happens. Dave lands in an orphanage--the cold and strict Hebrew Home for Boys in Harlem--far from the life he knew on the Lower East Side. But he's not so worried. He knows he'll be okay. He always is. If it doesn't work out, he'll just leave, find a better place to stay. But it's not that simple.
Outside the gates of the orphanage, the nighttime streets of Harlem buzz with jazz musicians and swindlers; exclusive parties and mystifying strangers. Inside, another world unfolds, thick with rare friendships and bitter enemies. Perhaps somewhere, among it all, Dave can find a place that feels like home.
Alfred's Teach Yourself to Play Ukulele, C-Tuning: Everything You Need to Know to Start Playing Now! (Teach Yourself Series)
* Transposition chart
* Dictionary of tablature techniques
* Ukulele fingerboard chart
* Complete ukulele chord dictionary This book teaches entirely in C tuning. The D tuning edition of Alfred's Teach Yourself to Play Ukulele (item 14135) is available from your favorite music retailer and at Alfred.com. Be your own teacher, and let Alfred be your resource every step of the way.
Widely regarded as the crowning achievement of his career, Mahler's Symphony No. 8 received overwhelming recognition at its first performance, conducted by the composer in Munich on September 12, 1910.
A massive, complex work that integrates on a truly grand scale the musical ideas, forms, and media that dominated Mahler's creative life, the symphony -- in two great sections -- is scored for orchestra, eight solo voices, double chorus, boys' choir, and organ, with the words for the first section taken from the medieval Latin hymn "Veni, Creator Spiritus." The text of the second part is from the final scene of Goethe's Faust.
Students, performers, and all lovers of Mahler's monumental orchestral works will welcome the addition of this fine, conveniently sized edition to their library of great scores.