the american musical and the formation of national identity pdf

The American Musical And The Formation Of National Identity Pdf

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The article focuses on the specific historical contributions of filmed musicals and examines selected areas of intersection between stage and screen. The narrative sound film typically maintains the illusion of reality through deploying its combination of images and sounds so as to seem natural to audiences, whether by directly simulating experienced reality or by following familiar conventions of cinematic storytelling.

Musical nationalism

Many of our ebooks are available for purchase from these online vendors:. Many of our ebooks are available through library electronic resources including these platforms:. The American musical has achieved and maintained relevance to more people in America than any other performance-based art. This thoughtful history of the genre, intended for readers of all stripes, offers probing discussions of how American musicals, especially through their musical numbers, advance themes related to American national identity. It then proceeds thematically, focusing primarily on fifteen mainstream shows from the twentieth century, with discussions of such notable productions as Show Boat , Porgy and Bess , Oklahoma! The shows are grouped according to their treatment of themes that include defining America, mythologies, counter-mythologies, race and ethnicity, dealing with World War II , and exoticism.

Skip to main content. Search form Search. American identity syllabus. Racism has been an organic element in American life from the start. American painting consequently has been studied and interpreted for its putative relationship to American identity or to aspects of national self-image.

The American Musical and the Formation of National Identity admirably achieves the two central goals set out by the author: to provide scholars with a history of the musical theater that is analytically sophisticated and to offer teachers and students an accessible and engaging textbook for courses in the musical theater. As Raymond Knapp notes in his introduction, the field of musical theater scholarship is still developing, and the lack of a rigorous scholarly history of the form has made teaching the musical a particular challenge. This book fills that gap beautifully and well deserves to become a standard textbook on the subject. Knapp's years of experience as a professor of the musical theater are apparent in the excellent organizational structure of the book, the lucid discussions of individual plays, and the close attention to the details of the music. Enormously helpful

Performance, Authenticity, and the Reflexive Idealism of the American Musical

By Raymond Knapp. The American musical has achieved and maintained relevance to more people in America than any other performance-based art. This thoughtful history of the genre, intended for readers of all stripes, offers probing discussions of how American musicals, especially through their musical numbers, advance themes related to American national identity. Written by a musicologist and supported by a wealth of illustrative audio examples on the book's website , the book examines key historical antecedents to the musical, including the Gilbert and Sullivan operetta, nineteenth and early twentieth-century American burlesque and vaudeville, Tin Pan Alley, and other song types. It then proceeds thematically, focusing primarily on fifteen mainstream shows from the twentieth century, with discussions of such notable productions as Show Boat , Porgy and Bess , Oklahoma! The shows are grouped according to their treatment of themes that include defining America, mythologies, counter-mythologies, race and ethnicity, dealing with World War II, and exoticism. Each chapter concludes with a brief consideration of available scholarship on related subjects; an extensive appendix provides information on each show discussed, including plot summaries and song lists, and a listing of important films, videos, audio recordings, published scores, and libretti associated with each musical.

The American musical has achieved and maintained relevance to more people in America than any other performance-based art. This thoughtful history of the genre, intended for readers of all stripes, offers probing discussions of how American musicals, especially through their musical numbers, advance themes related to American national identity. Written by a musicologist and supported by a wealth of illustrative audio examples on the book's website , the book examines key historical antecedents to the musical, including the Gilbert and Sullivan operetta, nineteenth and early twentieth-century American burlesque and vaudeville, Tin Pan Alley, and other song types. It then proceeds thematically, focusing primarily on fifteen mainstream shows from the twentieth century, with discussions of such notable productions as Show Boat , Porgy and Bess , Oklahoma! The shows are grouped according to their treatment of themes that include defining America, mythologies, counter-mythologies, race and ethnicity, dealing with World War II, and exoticism.

The American Musical and the Formation of National Identity

The article focuses on advancement in the authenticity or idealism through artificial modes of performance offered up in musicals. Musicology became established as a discipline during the nineteenth century in part as an outgrowth of German Idealism and German nationalism, which gave a direction and purpose to the young discipline. The authenticity comes out directly from the historically based valorization of subjective musical expression, and links up to both a related valorization of folk music as authentic within nationalist discourses and a strong latter-day emphasis on the recapturing of origins, whether in source studies, sketch studies, editions, or performance practice. The interpretation and re-creation influences every facet of putting on a musical, combining to create a complex layering of performances at every stage.

The American Musical and the Formation of National Identity

The American musical has achieved and maintained relevance to more people in America than any other performance-based art. This thoughtful history of the genre, intended for readers of all stripes, offers probing discussions of how American musicals, especially through their musical numbers, advance themes related to American national identity. Written by a musicologist and supported by a wealth of illustrative audio examples on the book's website , the book examines key historical antecedents to the musical, including the Gilbert and Sullivan operetta, nineteenth and early twentieth-century American burlesque and vaudeville, Tin Pan Alley, and other song types. It then proceeds thematically, focusing primarily on fifteen mainstream shows from the twentieth century, with discussions of such notable productions as Show Boat , Porgy and Bess , Oklahoma! The shows are grouped according to their treatment of themes that include defining America, mythologies, counter-mythologies, race and ethnicity, dealing with World War II, and exoticism. Each chapter concludes with a brief consideration of available scholarship on related subjects; an extensive appendix provides information on each show discussed, including plot summaries and song lists, and a listing of important films, videos, audio recordings, published scores, and libretti associated with each musical. Project MUSE promotes the creation and dissemination of essential humanities and social science resources through collaboration with libraries, publishers, and scholars worldwide.

Musical nationalism refers to the use of musical ideas or motifs that are identified with a specific country, region, or ethnicity, such as folk tunes and melodies, rhythms, and harmonies inspired by them [ citation needed ]. As a musical movement, nationalism emerged early in the 19th century in connection with political independence movements, and was characterized by an emphasis on national musical elements such as the use of folk songs, folk dances or rhythms, or on the adoption of nationalist subjects for operas, symphonic poems, or other forms of music Kennedy As new nations were formed in Europe, nationalism in music was a reaction against the dominance of the mainstream European classical tradition as composers started to separate themselves from the standards set by Italian , French , and especially German traditionalists Miles n.


The American musical has achieved and maintained relevance to more people in America than any other performance-based art. This thoughtful history of the.


Edited by Raymond Knapp, Mitchell Morris, and Stacy Wolf

Его, пожалуй, могли бы спасти в стране с высокоразвитой медициной, но в Испании у него нет никаких шансов. Два человека…. И вот Халохот уже за спиной жертвы. Как танцор, повторяющий отточенные движения, он взял чуть вправо, положил руку на плечо человеку в пиджаке цвета хаки, прицелился и… выстрелил. Раздались два приглушенных хлопка.

 - Не надо впутывать сюда полицию. Вы говорите, что находитесь в центре, верно. Вы знаете отель Альфонсо Тринадцатый. Один из лучших в городе. - Да, - произнес голос.  - Я знаю эту гостиницу. Она совсем .

Во-вторых, Стратмор гораздо лучше меня знает, что происходит в шифровалке в данный момент. Почему бы тебе не позвонить. - Потому что дело именно в. Он что-то скрывает. Джабба вытаращил глаза: - Мидж, дорогая. Я по уши опутан кабелем.

The American Musical and the Formation of National Identity

Он, конечно, понял, чем это грозит: червь сожрет фильтры, содержащие информацию в тайне, и без них она станет доступна всем без исключения. - Нам необходимо отключиться от Интернета, - продолжил Джабба.  - Приблизительно через час любой третьеклассник с модемом получит высший уровень допуска к американской секретной информации. Фонтейн погрузился в раздумья. Джабба терпеливо ждал, наконец не выдержал и крикнул ассистентке: - Соши.

 Врешь. Она ударила его подушкой. - Рассказывай.

Он вызвал скорую. Мы решили уйти. Я не видела смысла впутывать моего спутника, да и самой впутываться в дела, связанные с полицией.

 Понимаю.  - В голосе звонившего по-прежнему чувствовалась нерешительность.

Энсей Танкадо стал изгоем мирового компьютерного сообщества: никто не верил калеке, обвиняемому в шпионаже, особенно когда он пытался доказать свою правоту, рассказывая о какой-то фантастической дешифровальной машине АНБ. Самое странное заключалось в том, что Танкадо, казалось, понимал, что таковы правила игры. Он не дал волю гневу, а лишь преисполнился решимости. Когда службы безопасности выдворяли его из страны, он успел сказать несколько слов Стратмору, причем произнес их с ледяным спокойствием: - Мы все имеем право на тайну.

 Думаю, нет нужды спрашивать, куда направился Дэвид, - хмуро сказала. ГЛАВА 17 Дэвид Беккер ступил на раскаленные плиты площади Испании. Прямо перед ним над деревьями возвышалось Аюнтамьенто - старинное здание ратуши, которое окружали три акра бело-голубой мозаики азульехо. Его арабские шпили и резной фасад создавали впечатление скорее дворца - как и было задумано, - чем общественного учреждения. За свою долгую историю оно стало свидетелем переворотов, пожаров и публичных казней, однако большинство туристов приходили сюда по совершенно иной причине: туристические проспекты рекламировали его как английский военный штаб в фильме Лоуренс Аравийский.

Постояв еще некоторое время в нерешительности, он сунул конверт во внутренний карман пиджака и зашагал по летному полю. Странное начало. Он постарался выкинуть этот эпизод из головы. Если повезет, он успеет вернуться и все же съездить с Сьюзан в их любимый Стоун-Мэнор. Туда и обратно, - повторил он .

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