Results 1 to 6 of 6
- Stephen Sondheim : a life / by Secrest, Meryle.;
- Includes bibliographical references (p. 413-443) and index.
- Subjects: Sondheim, Stephen.; Composers;
- © 1998., Knopf,
- Available copies: 1 / Total copies: 1
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- West Side story [videorecording] / by Wise, Robert,1914-2005.; Lehman, Ernest,1915-2005.; Robbins, Jerome.; Bernstein, Leonard,1918-1990.; Sondheim, Stephen.; Wood, Natalie.; Beymer, Richard,1939-; Tamblyn, Russ.; Moreno, Rita.; Chakiris, George.; Leven, Boris.; Griffith, Robert E.; Prince, Harold,1928-; Laurents, Arthur.; Mirisch Pictures (Firm); Seven Arts Productions.; MGM Home Entertainment Inc.;
- DVD, region 1NTSC; full screen (1.33:1); Dolby digital 5.1 surround.Natalie Wood, Richard Beymer, Russ Tamblyn, Rita Moreno, George Chakiris.Director of photography, Daniel L. Fapp ; editor, Thomas Stanford ; music, Leonard Bernstein; lyrics by Stephen Sondheim ; costume designer, Irene Sharaff ; production designer, Boris Leven ; choreographer, Jerome Robbins.Not rated by the MPAA.This musical sets the tragedy of Romeo and Juliet against a backdrop of the rivalry of two street gangs, the Sharks and the Jets, in New York of the 1950s. A young woman who is sister to the Sharks leader has her first taste of love with the former head of the Jets.Academy Awards, USA; 1962, Oscar - Best Actor in a Supporting Role (George Chakiris); Best Actress in a Supporting Role (Rita Moreno); Best Art Direction-Set Decoration, Color (Boris Leven, Victor A. Gangelin); Best Cinematography, Color (Daniel L. Fapp); Best Costume Design, Color (Irene Sharaff); Best Director (Robert Wise, Jerome Robbins); Best Film Editing (Thomas Stanford); Best Music, Scoring of a Musical Picture (Saul Chaplin, Johnny Green, Sid Ramin, Irwin Kostal); Best Picture (Robert Wise); Best Sound (Fred Hynes, Gordon Sawyer)
- Subjects: Feature films.; Musical films.; Film adaptations.; Video recordings for the hearing impaired.; Gangs; First loves; Video recordings for the hearing impaired.;
- © c2003., MGM Home Entertainment,
- Available copies: 1 / Total copies: 1
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- Anything goes : a history of American musical theatre / by Mordden, Ethan,1947-;
- Includes bibliographical references and index.The First Age. Source material ; The age of burlesque ; At the turn of the century. -- The Second Age. The witch of the wood and the bamboo tree ; Victor Herbert ; The new music ; The variety show. -- The Third Age. The structure of twenties musical comedy ; The structure of twenties operetta ; Dancing in the dark ; Blue Monday blues ; The Rodgers and Hammerstein handbook ; Something to dance about ; After West Side story ; The Sondheim handbook. -- The Fourth Age. Devolution ; That is the state of the art.This work offers a history of American musical theater from the 1920s through to the 1970s. After six volumes on the musical's history, decade by decade from the 1920s through the 1970s, the author takes an entirely fresh look at the musical, from 'The Beggar's Opera' to 'Wicked'. Looking at the 'Star Comic', the 'Sweetheart Heroine', the war between musical comedy and operetta, the rise of the sexy story in the 1920s, the wedding of ballet and hoofing in the 1930s, the Oklahoma! and Carousel "musical play" in the 1940s, the Novelty Star in the 1950s, and other developments, the author takes us from George Gershwin to Ethel Merman to Jerome Robbins to the director-choreographer and the offbeat contemporary show: 'Porgy and Bess', 'Gypsy', 'Fiddler on the Roof', 'Chicago', 'A Chorus Line', 'Grand Hotel', 'Grey Gardens', 'Rent'. The author emphasizes not only the writing of musicals but the performing of them, taking the reader virtually into the theatre to experience what a great show is like, whether Victor Herbert's 'The Red Mill' or Stephen Sondheim's 'Follies'.Offers a history of American musical theater from the 1920s through to the 1970s, and includes such famous works as "Oklahoma!," "The Red Mill," and "Porgy and Bess."
- Subjects: Musicals;
- Available copies: 1 / Total copies: 1
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- The Cambridge companion to the musical / by Everett, William A.,1962-; Laird, Paul R.;
- Includes bibliographical references (p. 372-385) and index.Adaptations and transformations : before 1940. American musical theatre before the twentieth century / Katherine K. Preston ; Non-English-language musical theatre in the United States / John Koegel ; Birth pangs, growing pains and sibling rivalry : musical theatre in New York, 1900-1920 / Orly Leah Krasner ; American and British operetta in the 1920s : romance, nostalgia and adventure / William A. Everett ; Images of African Americans : African-American musical theatre, Showboat, and Porgy and Bess / John Graziano ; The melody (and the words) linger on : American musical comedies of the 1920s and 1930s / Geoffrey Block -- Maturations and formulations : 1940-1970. We said we wouldn't look back : British musical theatre, 1935-1960 / John Snelson ; The coming of the musical play : Rodgers and Hammerstein / Ann Sears ; The successors of Rodgers and Hammerstein from the 1940s to the 1960s / Thomas L. Riis and Ann Sears ; Musical sophistication on Broadway : Kurt Weill and Leonard Bernstein / Bruce D. McClung and Paul R. Laird -- Evolutions and integrations : after 1970. Stephen Sondheim and the musical of the outsider / Jim Lovensheimer ; Choreographers, directors and the fully integrated musical / Paul R. Laird ; From Hair to Rent : is rock a four-letter word on Broadway? / Scott Warfield ; The megamusical : the creation, internationalisation and impact of a genre / Paul Prece and William A. Everett ; Something borrowed, something blue : the marriage of the musical and Europe / Judith Sebesta ; New horizons : the musical at the dawn of the twenty-first century / Bud Coleman -- Legacies and transformations. Why do they start to sing and dance all of a sudden? : examining the film musical / Graham Wood ; Revisiting classic musicals : revivals, film, television and recordings / Jessica Sternfeld ; The creation of a Broadway musical : Stephen Schwartz, Winnie Holzman, and Wicked / Paul R. Laird.
- Subjects: Musicals; Musical theater;
- © c2008., Cambridge University Press,
- Available copies: 1 / Total copies: 1
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- Hamilton : [electronic resource] : The revolution. by Miranda, Lin-Manuel.; Hargitay, Mariska.;
- Narrator: Mariska Hargitay.Lin-Manuel Miranda's groundbreaking musical Hamilton is as revolutionary as its subject, the poor kid from the Caribbean who fought the British, defended the Constitution, and helped to found the United States. Fusing hip-hop, pop, R&B, and the best traditions of theater, this once-in-a-generation show broadens the sound of Broadway, reveals the storytelling power of rap, and claims our country's origins for a diverse new generation.Hamilton: The Revolution gives readers an unprecedented view of both revolutions, from the only two writers able to provide it. Miranda, along with Jeremy McCarter, a cultural critic and theater artist who was involved in the project from its earliest stages — "since before this was even a show," according to Miranda — traces its development from an improbable performance at the White House to its landmark opening night on Broadway six years later. In addition, Miranda has written more than 200 funny, revealing footnotes for his award-winning libretto, the full text of which is published here.Their account features photos by the renowned Frank Ockenfels and veteran Broadway photographer, Joan Marcus; exclusive looks at notebooks and emails; interviews with Questlove, Stephen Sondheim, leading political commentators, and more than 50 people involved with the production; and multiple appearances by President Obama himself. The book does more than tell the surprising story of how a Broadway musical became a national phenomenon: It demonstrates that America has always been renewed by the brash upstarts and brilliant outsiders, the men and women who don't throw away their shot.Requires OverDrive Listen (file size: N/A KB) or OverDrive app (file size: 170247 KB).
- Subjects: Electronic books.; Nonfiction.; Biography & Autobiography.; History.; Performing Arts.;
- © 2016., Hachette Book Group,
- On-line resources: http://link.overdrive.com/?websiteID=130119&titleID=2674734 -- Click to access digital title in OverDrive.;
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- Music in the USA : a documentary companion / by Tick, Judith.edt; Beaudoin, Paul E.,1960-edt;
- Includes bibliographical references and index.1540-1770. -- 1. Early encounters between indigenous peoples and European explorers / (Castañeda, Drake, de Meras, Smith, Wood) -- 2. From the Preface to the first edition of the Bay psalm book -- 3. Four translations of Psalm 100 / (Tehilim, Bay Psalm Book, 1640 and 1698, Watts) -- 4. From the diaries of Samuel Sewall -- 5. The ministers rally for musical literacy / (Mather, Walter, Symmes) -- 6. Benjamin Franklin advises his brother on how to write a ballad and how not to write like Handel -- 7. Social music for the elite in colonial Williamsburg -- 8. Advertisements and notices from colonial newspapers.1770-1830. 9. "Christopher Crotchet, singing master from Quavertown" -- 10. Singing the revolution / (Adams, Dickinson, Greeley) -- 11. Elisha Bostwick hears a Scots prisoner sing "Gypsie Laddie" -- 12. A sidebar into ballad scholarship : the wanderings of "The gypsy laddie" / (Child, Sharp, Coffin, Bronson) -- 13. William Billings and the new sacred music / (Billings, Gould) -- 14. Daniel Read on pirating and "scientific music" -- 15. Turn-of-the-century theater songs from Reinagle, Rowson, and Carr : "America, commerce, and freedom" and "The little sailor boy" -- 16. Padre Narciso Durán describes musical training at the Mission San Jose -- 17. Moravian musical life at Bethlehem / (Henry, Till, Bowne) -- 18. Reverend Burkitt brings camp meeting hymns from Kentucky to North Carolina in 1803 -- 19. John Fanning Watson and errors in Methodist worship -- 19. Reverend James B. Finley and Mononcue sing "Come thou fount of every blessing."1830-1880. -- 21. Thomas D. Rice acts out Jim Crow and Cuff -- 22. William M. Whitlock, banjo player for the Virginia Minstrels -- 23. Edwin P. Christy, Stephen Foster, and "Ethiopian minstrelsy" -- 24. Stephen Foster's legacy / (Foster, Gordon, Robb, Simpson, Willis, Galli-Curci, Ellington, Charles) -- 25. The Fasola folk, The southern harmony, and The sacred harp / (Walker, White, King) -- 26. A sidebar into the discovery of shape-note music by a national audience / (Jackson, The sacred harp, 1991) -- 27. The Boston public schools set a national precedent in music education -- 28. Lorenzo Da Ponte recruits an Italian opera company for New York -- 29. Music education for American girls -- 30. Early expressions of cultural nationalism / (Hopkins, Fry, Putnam's Monthly) -- 31. John S. Dwight remembers how he and his circle "were but babes in music" -- 32. George Templeton Strong hears the American premiere of Beethoven's Fifth -- 33. German Americans adapting and contributing to musical life -- 34. Emil Klauprecht's German-American novel, Cincinnati, oder, Die Geheimnisse des Westens -- 35. P.T. Barnum and the Jenny Lind fever -- 36. Miska Hauser, Hungarian violinist, pans for musical gold -- 37. From the journals of Louis Moreau Gottschalk -- 38. The 'four-part blend' of the Hutchinson Family -- 39. Walt Whitman's conversion to opera -- 40. Clara Kellogg and the memoirs of an American prima donna -- 41. Frederick Douglass from My bondage and my freedom -- 42. Harriet Beecher Stowe and two scenes from Uncle Tom's cabin -- 43. From Slave songs of the United States (1867) -- 44. A sidebar into memory : slave narratives from the Federal Writers' Project in the new deal -- 45. George F. Root recalls how he wrote a classic union song -- 46. A confederate girl's diary during the Civil War -- 47. Soldier-musicians from the North and the South recall duties on the front -- 48. Ella Sheppard Moore, a Fisk Jubilee Singer --- 49. Patrick S. Gilmore and the golden age of bands / (Newspaper review, Herbert) -- 50. Theodore Thomas and his musical manifest destiny / (Rose Fay Thomas, Theodore Thomas).1880-1920. -- 51. John Philip Sousa : excerpts from his Autobiography -- 52. Why is a good march like a marble statue? / (Pryor, Fennell) -- 3. Willa Cather mourns the passing of the small-town opera house -- 54. Henry Lee Higginson and the founding of the Boston Symphony Orchestra -- 55. American classical music goes to the Paris World's Fair of 1889 -- 56. George Chadwick's ideals for composing classical concert music -- 57. Late 19th-century cultural nationalism : the paradigm of Dvořák / (Creelman, Paine, Burleigh) -- 58. Henry Krehbiel explains a critic's craft and a listener's duty -- 59. Amy Fay tackles the "woman question" -- 60. Amy Beach, composer, on "Why I chose my profession" -- 61. Edward MacDowell, poet-musician, remembered / (Currier, Gilman) -- 62. Paul Rosenfeld's manifesto for American composers -- 63. From the writings of Charles Ives -- 64. Frederic Louis Ritter looks for the "people's song" -- 65. Frances Densmore and the documentation of American Indian songs and poetry -- 66. A sidebar into national cultural policy : the Federal Cylinder Project -- 67. Charles K. Harris on writing hits for Tin Pan Alley -- 68. Scott Joplin, ragtime visionary / (Scott Joplin, Lottie Joplin) -- 69. A sidebar into the ragtime revival of the 1970s : William Bolcom reviews The collected works of Scott Joplin -- 70. James Reese Europe on the origin of "modern dances" -- 71. Irving Berlin on "love-interest as a commodity" in popular songs -- 72. Caroline Caffin on the "music and near-music" of Vaudeville -- 73. Ferdinand "Jelly Roll" Morton describes New Orleans and the discipline of jazz.1920-1950. -- 74. Bessie Smith, artist and blues singer / (press notice, Bailey, Schuller) -- 75. Thomas Andrew Dorsey "Brings the people up" and carries himself along -- 76. Louis Armstrong in his own words -- 77. Gilbert Seldes waves the flag of pop -- 78. Al Jolson and The jazz singer -- 79. Carl Stalling : master of cartoon music : an interview -- 80. A sidebar into postmodernism: John Zorn Turns Carl Stalling into a Prophet -- 81. Alec Wilder writes lovingly about Jerome Kern -- 82. George Gershwin explains that "Jazz is the voice of the American soul" -- 83. William Grant Still, pioneering African American composer / (Still, Locke, Still) -- 84. The inimitable Henry Cowell as described by the irrepressible Nicolas Slonimsky -- 85. Ruth Crawford and her "astonishing juxtapositions" -- 86. "River Sirens, Lion Roars, all music to Varèse" : an interview in Santa Fe -- 87. Leopold Stokowski and "debatable music" -- 88. Henry Leland Clark on the Composers Collective -- 89. Marc Blitzstein in and out of the treetops of The cradle will rock -- 90. Samuel Barber and the controversy around the premiere of Adagio for strings / (Downes, Pettis, Menotti, Harris) -- 91. Virgil Thomson, composer and critic -- 92. Arthur Berger divides Aaron Copland into two styles and Copland puts himself back together again -- 93. Aaron Copland on the "personality of Stravinsky" -- 94. The American period of Arnold Schoenberg / (Sessions, Newlin) -- 95. Uncle Dave Macon, banjo trickster at the Grand Ole Opry -- 96. The Bristol sessions and country music -- 97. A sidebar into the folk revival : Harry Smith's canon of old-time recordings -- 98. Zora Neale Hurston on "spirituals and neo-spirituals" -- 99. The hard times of Emma Dusenbury, source singer -- 100. John and Alan Lomax propose a "Canon for American folk song" -- 101. Woody Guthrie praises the "spunkfire" attitude of a folk song -- 102. Fred Astaire dances like a twentieth-century American / (Williams) -- 103. The innovations of Oklahoma! / (de Mille, Engel) -- 104. Duke Ellington on swing as a way of life -- 105. Malcolm X recalls the years of swing -- 106. The many faces of Billie Holiday / (Holiday, Wilson, Bennett) -- 107. Ralph Ellison and the birth of bebop at Minton's.1950-1975. -- 108. Ella Fitzgerald on stage / (Peterson) -- 109. Leonard Bernstein charts an epic role for musical theater -- 110. Stephen Sondheim on writing theater lyrics -- 111. Muddy Waters explains "why it doesn't pay to run from trouble" -- 112. Elvis Presley in the eye of musical twister / (newspaper reviews, Gould, Lewis) -- 113. Chuck Berry in his own words -- 114. The five string banjo : hints from the 1960s speed-master, Earl Scruggs -- 115. Pete Seeger, a TCUAPSS, Sings out!" -- 116. Bob Dylan turns liner notes into poetry -- 117. Janis Joplin grabs pieces of our hearts / (Joplin, Graham) -- 118. "Handcrafting the grooves" in the studio: Aretha Franklin at Muscle Shoals / (Wexler) -- 119. Jimi Hendrix, virtuoso of electricity / (Hendrix, Bloomfield) -- 120. Amiri Baraka theorizes a black nationalist aesthetic -- 121. Greil Marcus and the new rock criticism -- 122. Charles Reich on the music of "Consciousness III" -- 123. McCoy Tyner on "the jubilant experience of John Coltrane"s classic quartet -- 124. Miles Davis : excerpts from his autobiography -- 125. A Vietnam vet remembers rocking and rolling in the mud of war -- 126. George Crumb and Black angels : "A quartet in time of war" -- 127. Milton Babbitt on electronic music / (Babbitt, Brody and Miller) -- 128. Edward T. Cone satirizes music theory's new vocabulary -- 129. Mario Davidovsky, an introduction / (Chasalow) -- 130. Elliot Carter on the "different time worlds" in String quartets no. 1 and 2 -- 131. John Cage, words and Music for changes / (Cage, Anderson) -- 132. Harold Schonberg on "art and bunk, matter and anti matter" -- 133. Pauline Oliveros, composer and teacher -- 134. Steve Reich on "music as a gradual process."1975-2000. -- 135. Star Wars meets Wagner / (Dyer, Tomlinson) -- 136. Tom Johnson demonstrates what minimalism is all about -- 137. Morton Feldman and his West German fan base / (Feldman, Post) -- 138. Philip Glass and the roots of reform opera -- 139 Laurie Anderson does "stand-up" performance art / (Anderson, Gordon) -- 140. Meredith Monk and the revelation of voice -- 141. Recapturing the soul of the American orchestra / (Duffy, Tower) -- 142. Two economists measure the impact of blind auditions -- 143. John Harbison on modes of composing -- 144. Wynton Marsalis on learning from the past for the sake of the present -- 145. John Adams, an American master -- 146. The incorporation of the American Folklife Center -- 147. Daniel J. Boorstin's welcoming remarks at the Conference on Ethnic Recordings in America -- 148. Willie Colón on "conscious salsa" -- 149. The accordion travels through "roots music" / (Savoy) -- 150. Conjunto music--"a very beautiful accordiante flower / (Santiago Jiménez, Flaco Jiménez, Jordán) -- 151. Gloria Anzaldúa on Vistas y corridos : my native tongue -- 152. Contemporary Native American music and the Pine Ridge Reservation / (Porcupine Singers, Frazier) -- 153. MTV and the music video / (MoMA, Hoberman) -- 154. Turning points in the career of Michael Jackson / (Jackson, Jones) -- 155. Sally Banes explains why "breaking is hard to do" -- 156. Two members of public enemy discuss sampling and copyright law -- 157. DJ Qbert, master of turntable music -- 158. A press release from the Country Music Association -- 159. Ephemeral music : Napster's congressional testimony."Music in the USA: A Documentary Companion charts a path through American music and musical life using as guides the words of composers, performers, writers and the rest of us ordinary folks who sing, dance, and listen. The anthology of primary sources contains about 160 selections from 1540 to 2000. Sometimes the sources are classics in the literature around American music, for example, the Preface to the Bay Psalm Book, excerpts from Slave Songs of the United States, and Charles Ives extolling Emerson. But many other selections offer uncommon sources, including a satirical story about a Yankee music teacher; various columns from 19th-century German American newspapers; the memoirs of a 19th-century diva; Lottie Joplin remembering her husband Scott; a little-known reflection of Copland about Stravinsky; an interview with Muddy Waters from the Chicago Defender; a letter from Woody Guthrie on the "spunkfire" attitude of a folk song; a press release from the Country Music Association; and the Congressional testimony around "Napster." "Sidebar" entries occasionally bring a topic or an idea into the present, acknowledging the extent to which revivals of many kinds of music play a role in American contemporary culture. This book focuses on the connections between theory and practice to enrich our understanding of the diversity of American musical experiences. Designed especially to accompany college courses which survey American music as a whole, the book is also relevant to courses in American history and American Studies." "The primary audience for this book is students in college courses in American music or in American culture, American media, and American history. The book will be of great interest to scholars in these areas as well, and will be a longstanding reference. The book will appeal to the general audience as well."--Jacket.
- Subjects: Music; Whitman College;
- © 2008., Oxford University Press,
- Available copies: 1 / Total copies: 1
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