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E-book Here for the Hearing : Analyzing the Music in Musical Theater
Twenty years ago, very few music scholars examined Broadway musicals. If musicologists were a bit slow to approach the musical theater reper-toire (and they were), theorists and analysts arrived—and are only now arriving—more than fashionably late to the party. We hope that this vol-ume loudly announces that we are here.Music theorists care about musical theater. We know this anecdotally, but convincingly so. Over the past several years, talks on musicals have become more commonplace at theory conferences in North America (especially those of the Society for Music Theory) and are often among the best-attended presentations; articles involving musical theater are also appearing with greater frequency, including in each of the SMT’s journals: Music Theory Spectrum, Music Theory Online, and S MT-V. As the method-ologies we employ and the repertoire we study have broadened, and as the entire field has, in turbulent times, become increasingly invested in expanding the scope of what we do, musical theater is one place we should be looking to do more work. While Broadway shows might not be as nim-ble as popular music at reacting to civil unrest and in reflecting our soci-ety’s changing views, they nevertheless reflect our shifting musical tastes and common values.Musicals (both entire shows and their constituent songs) offer a spring-board for coupling notions of musical structure and style with the ways they derive and enhance meaning. Every essay in this collection examines the role musical structures play in conveying aspects of drama.We are not trying to reinvent musical theater scholarship. Musicol-ogists and theater historians have much to tell us about the genre’s his-tory and social contexts, and their critical readings of musicals form an important body of scholarship—one to which we eagerly contribute. Our collective goal is to enrich critical and historical research foci with deep musical engagement. This collection of essays introduces analytical tech-niques that ground our observations and also invite comparison between the structures of musical theater and those of other popular and common-practice repertoires. Because none of our essays requires a specialist’s knowledge of analytical methodology, we hope this book will speak to musicologists, theater scholars, performers, musically astute aficionados, and of course our fellow music theorists.
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