Lin-Manuel Miranda: Hamilton, a New Era of Broadway Musicals by Besmir Shishko

“…This paper aims to address the issues of changing the conventional Broadway music by introducing hip-hop, which seemingly focuses on rapping about relevant issues over edgy beats. …”
Get full text

Season of Discontent to “Seasons of Love”: Broadway Musicals in a Time of #MeToo by Jeffrey Eric Jenkins

Subjects: Get full text

21st-Century Broadway Musicals and the ‘Best Musical’ Tony Award: Trends and Impact by Matthew Hodge

“…The annual Tony Awards continue to serve as an influential theatre industry establishment that helps define a Broadway musical as exceptional and worthy of audiences, especially the awarding of the ‘Best Musical’ category (which can statistically have a profound impact on a production’s longevity). …”
Get full text

<i>«Celestina», a Tragic Music Comedy</i> by Brad Bond. Creation and evolution of a Broadway musical by Enrique Fernández

“…Also, as demanded by the conventions of Broadway musicals, some characters were introduced, such as a chorus of naughty «Celestina Boys». …”
Get full text

“I Can’t Be What You Expect of Me”: Power, Palatability, and Shame in <i>Frozen: The Broadway Musical</i> by Hannah Robbins

“…This article combines critical, cultural, and musical analysis to situate <i>Frozen: The Broadway Musical</i> as a distinct work within Disney&#8217;s wider franchise. …”
Get full text

“Tap, Tap, Tapping on the Glass”: Generation Z, Social Media and <i>Dear Evan Hansen</i> by Bethany Doherty

Subjects: Get full text

How to Dismantle a [Theatric] Bomb: Broadway Flops, Broadway Money, and Musical Theater Historiography by Elizabeth L. Wollman

Subjects: “…Broadway musicals…”
Get full text

The raised fourth in Leonard Bernstein’s West Side Story by Nicol Viljoen, Johann Visagie

“… This article traces the functions and applications of the raised fourth-scale degree in Leonard Bernstein’s West Side Story against the background of the work’s precarious positioning between a Broadway musical and a modern opera. It attempts to demonstrate how the raised fourth operates in a variety of ways as a coherent tonal motive with distinctive tragic undertones. …”
Get full text

The raised fourth in Leonard Bernstein’s West Side Story by Nicol Viljoen, Johann Visagie

“… This article traces the functions and applications of the raised fourth-scale degree in Leonard Bernstein’s West Side Story against the background of the work’s precarious positioning between a Broadway musical and a modern opera. It attempts to demonstrate how the raised fourth operates in a variety of ways as a coherent tonal motive with distinctive tragic undertones. …”
Get full text

Une nouvelle approche du Morte d’Arthur de Malory au XXe siècle : la réécriture musicale de Lerner et Loewe by Justine Breton

“…However, it is necessary to take into account in its diffusion the vast and often neglected influence of the Broadway musical Camelot (1960), by Alan Jay Lerner and Frederick Loewe. …”
Get full text

Developing a Crossover Idiomatic Writing for the Double Bass: Composing/Arranging & Playing, and ... Da capo ! by Fausto Borém

“…Departing from the interaction between three creative musical processes - composing, arranging and playing, in various musical genres (classical song, Broadway musical song, blues, rock, ballad and samba), I discus (1) the refinement of the notation in the score; (2) the heterogeneity of the seven double bass registers; (3) exploring the double bass as a harmonic instrument; (4) exploring the double bass as percussion instrument; (5) the exploration of the text-music binomial (6) the reduction of larger instrumentations (symphony orchestra, chamber groups, blues and rock bands) to smaller groups (duo, trio and quartet with double bass, voice, piano and percussion) and (7) the development of extended techniques on the double bass not documented in the literature.…”
Get full text

“I’m a Pretty Squid, Mama”: The Ongoing Self-Referential Legacy of Gypsy by Michael Schwartz

“…When Squidward Tentacles, the cranky squid co-worker of the ebullient Spongebob Squarepants, proclaims in the middle of the recent SpongeBob SquarePants: The Broadway Musical, “I’m a pretty squid, mama!” he is doing more than reeling off a quick meta-theatrical one-liner. …”
Get full text

Electronic delivery of alternative contents in cinemas before the digital era: the case of theater television in the US exhibition market in the 1940s and 1950s by Kira Kitsopanidou

“…The idea was to pipe “special events” (Broadway musical hits, operas, concerts, sports and films) to subscribing theaters around the country “giving perfectly sharp, technically faultless pictures and flawless sound reproduction”. …”
Get full text

“A Sensible Image of the Infinite”: Intersemiotic Translation of Russian Classics for Foreign Audiences by Olga Arkad'evna Leontovich

“…The research material includes 17 American, European, Chinese, Indian, Japanese fiction films and TV series, one Broadway musical and 9 Russian films and TV series used for comparison. …”
Get full text

Spain’s Francoist Broadway: American musicals in Madrid, 1955-1975 by Ramón Espejo

“… This article traces the itinerary followed by the earliest Broadway musicals to be imported to Madrid in the 1950s and 1960s. …”
Get full text

Confronting the Past through Popular Musical Theatre: The Effects of Austrian Postwar Cultural Policies on the Reception History of Musicals by Susanne Scheiblhofer

“…Exploring the effects of Austrian postwar cultural policies on the reception history of popular musical theatre, I analyze the role of the Opfermythos narrative and Kulturnation concept in the critical response to Broadway musicals after World War II. Because of their fictional portrayal of National Socialism, I focus on the Austrian premieres of Cabaret (1970), The Sound of Music (1993), and The Producers (2008). …”
Get full text

Penciptaan Drama Musikal Sweeney Todd: The Demon Barber of Fleet Street (Sweeney Todd:Tukang Cukur Haus Darah) by Husni Wardhana, Suharyoso Suharyoso

“…The musical drama Sweeney Todd: The Demon Barber of Fleet Street was fi rstly created from the musical comedy drama and since 1920 has shown serious themes that are well known as Broadway music or American music. This drama has commonly been shown on a big stage West End and Broadway in London and New York, also in Australia and Asia. …”
Get full text