- 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
The Show Must Go On
The Show Must Go On
- (p.249) Chapter 15 The Show Must Go On
- The New Music Theater
- Oxford University Press
This chapter discusses Songspiel and vaudeville, show music, and other popular musical theater forms; Kurt Weill in Europe and Kurt Weill in America; “theater opera” on Broadway in the 1930s and '40s starting with the Thomson/Stein 4 Saints in 3 Acts and continuing with the work of Weill, Gershwin, Britten, Menotti, Rodgers & Hart and Rodgers & Hammerstein. The American works of Weill are discussed including Love Life and the so-called concept musical with its long range influence on Blitzstein, Bernstein, William Bolcom, Anthony Davis, and others, including many pop and jazz musicians. The Kurt Weill influence was brought back to Europe by Robert Wilson and Tom Waits in their Black Rider. Limited European influence can also be traced in the work of East German composers, Henze, the Vienna group around Kurt Schwertsik and HK Gruber, Heiner Goebbels, and Christoph Marthaler.
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