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 (1927), Porgy and Bess (1935), Oklahoma! (1943), West Side Story (1957), Hair (1967), Pacific Overtures (1976), and Assassins (1991).
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.
Raymond Knapp is Professor in the Department of Musicology at the University of California, Los Angeles. He is the author of Symphonic Metamorposes: Subjectivity and Alienation in Mahler's Re-Cycled Songs and Brahms and the Challenge of the Symphony.
Table of Contents
List of Figures
xi
Explanatory Note about Audio Examples
xiii
Preface
xv
Part 1
Introductions
1
1
Contexts and Strategies
3
2
Nineteenth-Century European Roots: Models and Topics
19
Paris (and Berlin)
20
The Black Crook (1866)
20
London: W. S. Gilbert (1836-1911) and Arthur Sullivan (1842-1900)
29
H.M.S. Pinafore; or, The Lass That Loved a Sailor (1878)
34
3
Early American Developments: Minstrelsy, Extravaganza, Pantomime, Burlesque, Vaudeville
47
Minstrelsy
49
Extravaganza
59
Pantomime
60
Burlesque
61
Vaudeville
62
A Gilbert and Sullivan Postscript on American Minstrelsy
The most readable, focused, sustained and contextualized study of the genre I've encountered. The author's breadth, experience and reliability as a scholar and teacher shine through on every page. — Stephen Banfield, University of Bristol, UK
Rose Rosengard Subotnik
A stunningly original, breakthrough book whose contribution to musical scholarship will be substantial and exceptionally valuable. This book moves in directions I had never considered, forcing me to think about musicals in a truly fresh way. The author analyzes the music of this repertory in an ingenious (and highly readable) fashion that consistently illuminates connections to historical and critical ideas. It is thus the first book that succeeds in presenting the music of musical theater as a full-fledged cultural and artistic phenomenon, wholly justifying scholarly scrutiny. A brilliant analysis. — Rose Rosengard Subotnik, Brown University
From the Publisher
"A stunningly original, breakthrough book whose contribution to musical scholarship will be substantial and exceptionally valuable. This book moves in directions I had never considered, forcing me to think about musicals in a truly fresh way. The author analyzes the music of this repertory in an ingenious (and highly readable) fashion that consistently illuminates connections to historical and critical ideas. It is thus the first book that succeeds in presenting the music of musical theater as a full-fledged cultural and artistic phenomenon, wholly justifying scholarly scrutiny. A brilliant analysis."—Rose Rosengard Subotnik, Brown University"The most readable, focused, sustained and contextualized study of the genre I've encountered. The author's breadth, experience and reliability as a scholar and teacher shine through on every page."—Stephen Banfield, University of Bristol, UK
