- Title Pages
- Introduction: What Is Music Theater?
- Chapter 1 The Voice
- Chapter 2 Where the Sound Comes From
- entr’acte i: Is there such a thing as progress in opera or music theater?
- Chapter 3 The Music
- Chapter 4 Cultural Narratives and Performance Institutions
- entr’acte ii: A woman’s earring, a diamond necklace, a knee, a yogi in meditation, drawing, a mahout looking after an elephant: the language of Kathakali
- Chapter 5 Text
- Chapter 6 Visual Strategies
- Chapter 7 Space
- entr’ acte iii: A theater of warm bodies?
- Chapter 8 The American Eccentrics
- Chapter 9 Music Theater as Musiktheater
- Chapter 10 From the Homeland: Teatro Musicale
- Chapter 11 Théâtre Musical
- Chapter 12 Music Theater in Northern Europe
- entr’acte iv: The art form that never happened
- Chapter 13 Downtown
- Chapter 14 Minimalism and Music Theater
- Chapter 15 The Show Must Go On
- Chapter 16 The Art of the In-Between
- Chapter 17 Extended Voice
- Chapter 18 New Media and Music Theater
- entr’acte v: “… and how did you like it?”
- Chapter 19 Toward a Theory of the New Music Theater
- Chapter 20 Notation versus Improvisation?
- Chapter 21 Popular or high art?
- Chapter 22 Is Anyone Listening?
- Appendix I A Quick Summary of the Modern History of Music Theater
- Appendix II Selected Reading
- Appendix III Some Festivals and Performance Institutions
- (p.274) Chapter 17 Extended Voice
- The New Music Theater
- Oxford University Press
This chapter discusses Roy Hart, the Roy Hart Theater, and the roots of extended vocalism; widening of vocal range and inclusion of non-traditional vocal sounds and techniques; the American monologists; Meredith Monk, her techniques, vocal esthetic, and music-theater works; other well-known performers; and Quog Music Theater and the American Music Theater Festival.
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