MARC 主機 00000nam a2200421K 4500
001 AAI10015270
005 20170417092332.5
006 m o d
007 cr bn ---uuuuu
008 170417s2016 xx sbm 000 0 eng d
020 9781339491219
035 (MiAaPQ)AAI10015270
040 MiAaPQ|cMiAaPQ
100 1 Alfieri, Gabe
245 10 Missed cues|h[electronic resource] :|bMusic in the
American spoken theater c. 1935-1960
260 |c2016
300 1 online resource (586 p.)
500 Source: Dissertation Abstracts International, Volume: 77-
07(E), Section: A
500 Adviser: Joshua Rifkin
502 Thesis (Ph.D.)--Boston University, 2016
504 Includes bibliographical references
520 The period from the end of World War I through the 1950s
has been called "the Golden Age of Drama on Broadway."
Subsumed within this period is another sort of golden age,
of music in the American spoken theater, Broadway and
beyond, c. 1935-60. Unlike more familiar, and better-
studied, genres of dramatic music such as opera, ballet,
and the Broadway-style musical, music composed for spoken
dramas is neither a definitive part of the dramatic form
nor integral to the work's original conception. Rather, it
is added in production, like sets, costumes, and lighting
520 This study traces the roots of this rich period of spoken-
dramatic music to the collaboration of producer John
Houseman, director Orson Welles, and composer Virgil
Thomson on the Federal Theatre Project, beginning in 1936.
The musical ramifications of that collaboration eventually
extended to include composers Paul Bowles and Marc
Blitzstein, influential theater companies such as the
Theatre Guild and Group Theatre, innovative directors such
as Elia Kazan and Margo Jones, and major playwrights such
as Lillian Hellman and Tennessee Williams
520 Following a consideration of the forces that gave rise to
this musically rich nexus and the people, materials, and
practices involved, three high-profile theatrical
collaborations are examined, along with three scores that
resulted from them: Thomson's score for Houseman's 1957
"Wild West" Much Ado About Nothing; Blitzstein's score
for Welles and the Mercury Theatre's 1937-38 "anti-
Fascist" Julius Caesar; and Bowles's score for the
original production of Williams's The Glass Menagerie
(1944-45). Each score is located within the musico-
dramatic history that produced it, and analyzed within the
context of the production for which it was written. This
work aims to begin to recover a vast body of forgotten
American dramatic music, to limn the role of the spoken
theater in the careers of these three noteworthy American
musical artists, to probe a busy intersection of high and
commercial art forms, and to suggest music's important
role in the development of the American spoken theater
533 Electronic reproduction.|bAnn Arbor, Mich. :|cProQuest,
|d2017
538 Mode of access: World Wide Web
650 4 Music
650 4 Theater
650 4 Theater history
655 7 Electronic books.|2local
690 0413
690 0465
690 0644
710 2 ProQuest Information and Learning Co
710 2 Boston University.|bMusicology GRS
773 0 |tDissertation Abstracts International|g77-07A(E)
856 40 |uhttps://pqdd.sinica.edu.tw/twdaoapp/servlet/
advanced?query=10015270|zclick for full text (PQDT)
912 PQDT
