Music Theory through Musical Theatre takes a new and powerful approach to music theory. Written specifically for students in music theatre programs, it offers music theory by way of musical theatre. Not a traditional music theory text, Music Theory through Musical Theatre tackles the theoretical foundations of musical theatre and musical theatre literature with an emphasis on what students will need to master in preparation for a professional career as a performer. Veteran music theatre musician John Franceschina brings his years of experience to bear in a book that offers musical theatre educators an important tool in equipping students with what is perhaps the most important element of being a performer: the ability to understand the language of music in the larger dramatic context to which it contributes. The book uses examples exclusively from music theater repertoire, drawing from well-known and more obscure shows and songs. Musical sight reading is consistently at the forefront of the lessons, teaching students to internalize notated music quickly and accurately, a particularly necessary skill in a world where songs can be added between performances. Franceschina consistently links the concepts of music theory and vocal coaching, showing students how identifying the musical structure of and gestures within a piece leads to better use of their time with vocal coaches and ultimately enables better dramatic choices. Combining formal theory with practical exercises, Music Theory through Musical Theatre will be a lifelong resource for students in musical theatre courses, dog-eared and shelved beside other professional resource volumes.
Harry B. Smith was the most prolific writer of librettos for the American musical theatre in history, with nearly half of his 300 works actually opening in New York City. In addition, Smith was instrumental in adapting and popularizing foreign musicals in America, significantly influencing writing and composing styles of American shows. He worked with every major composer in America between 1880 and 1920, and consequently this examination of his work and process is highly instructive of the history of the American musical.
Music Theory through Musical Theatre takes a new and powerful approach to music theory. Written specifically for students in music theatre programs, it offers music theory by way of musical theatre. Not a traditional music theory text, Music Theory through Musical Theatre tackles the theoretical foundations of musical theatre and musical theatre literature with an emphasis on what students will need to master in preparation for a professional career as a performer. Veteran music theatre musician John Franceschina brings his years of experience to bear in a book that offers musical theatre educators an important tool in equipping students with what is perhaps the most important element of being a performer: the ability to understand the language of music in the larger dramatic context to which it contributes. The book uses examples exclusively from music theater repertoire, drawing from well-known and more obscure shows and songs. Musical sight reading is consistently at the forefront of the lessons, teaching students to internalize notated music quickly and accurately, a particularly necessary skill in a world where songs can be added between performances. Franceschina consistently links the concepts of music theory and vocal coaching, showing students how identifying the musical structure of and gestures within a piece leads to better use of their time with vocal coaches and ultimately enables better dramatic choices. Combining formal theory with practical exercises, Music Theory through Musical Theatre will be a lifelong resource for students in musical theatre courses, dog-eared and shelved beside other professional resource volumes.
Incidental and Dance Music in the American Theatre from 1786 to 1923 constitutes the first three volumes of a critical survey of incidental and dance music arrangers in the American theatre: what they did and how they did it from the early days of the American musical theatre through the musicals of the millennium. Since no book currently exists that chronicles the art of arranging incidental and dance music in the American theatre, it is the aim of this text to fill an important gap in musical theatre scholarship in language that is easily accessible yet rich in descriptive analysis. In addition, since many successful dance music arrangers were also film composers, it is the hope that this book might appeal to a readership that extends beyond libraries, musical theatre aficionados and students. The first series, from 1786 through 1923 treats incidental and dance music through the emergence of jazz on the Broadway stage. Future series include Incidental and Dance Music in the American Theatre from 1924 (No, No, Nanette) to 1966 (Cabaret) and Incidental and Dance Music in the American Theatre from 1967 (Hair) to 2015 (Hamilton). Each three-volume series includes introductory essays, chronologies, biographical and critical commentaries, and musical examples drawn from published and manuscript sources.
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