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

"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...

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Detalles Bibliográficos
Clasificación:Libro Electrónico
Autor principal: McMillin, Scott, 1934-2006
Formato: Documento de Gobierno Electrónico eBook
Idioma:Inglés
Publicado: Princeton, N.J. : Princeton University Press, [2006]
Temas:
Acceso en línea:Texto completo

MARC

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245 1 4 |a The musical as drama :  |b a study of the principles and conventions behind musical shows from Kern to Sondheim /  |c Scott McMillin. 
264 1 |a Princeton, N.J. :  |b Princeton University Press,  |c [2006] 
264 4 |c ©2006 
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504 |a Includes bibliographical references (pages 213-219) and index. 
505 0 |a 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? 
520 1 |a "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." 
520 8 |a "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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