9780472080830

Sondheim's Broadway Musicals

by
  • ISBN13:

    9780472080830

  • ISBN10:

    0472080830

  • Edition: Reprint
  • Format: Paperback
  • Copyright: 1995-11-01
  • Publisher: Univ of Michigan Pr
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Supplemental Materials

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  • The New copy of this book will include any supplemental materials advertised. Please check the title of the book to determine if it should include any access cards, study guides, lab manuals, CDs, etc.

Summary

With thirteen Broadway musicals to his credit, Stephen Sondheim's career in the musical theater has outdistanced those of most of his contemporaries. Each of his shows has presented new challenges to audiences, and each has cast fresh perspectives on the nature and potential of the American musical, as well as probing deeply, often painfully, into the nature of our culture. Sondheim's Broadway Musicalsis the first book to take an in-depth look at Sondheim's work. Stephen Banfield examines each of Sondheim's musicals for Broadway, fromWest Side StoryandGypsyto the 1987 musicalInto the Woods, and includesA Funny Thing Happened on the Way to the Forum,Company,Follies,Anyone Can Whistle,A Little Night Music,Pacific Overtures,Merrily We Roll Along,Sweeney Todd, andSunday in the Park with George. Banfield also discusses Sondheim's other work, such as the 1991 showAssassinsand his music for the 1990 filmDick Tracy--for which "Sooner or Later" won him an Academy Award for Best Song. "Banfield seems almost to hear Sondheim's music with Sondheim's ears. This extremely valuable work discusses Sondheim's early training and subsequent career, his general compositional concerns, and his style. The meat of the book is a musical-dramatic analysis of his musicals . . . . For each musical, Banfield places the work and its components in a historical and typological text. He also treats in welcome detail the musical profile or universe of each show: Sondheim's use of generative intervals or interval complexes as source material, motifs that reappear in various guises in various songs, the sound world that defines the musical's emotional mind. The book will be as useful to those who are cool to Sondheim's work as to his fans." --Choice

Table of Contents

Introduction 1(10)
Sondheim's Career and Output
11(50)
The Hammerstein Connection
11(4)
College Activities
15(5)
A Student in New York
20(6)
Journeyman Work
26(5)
Sondheim as Lyricist: West Side Story
31(7)
A Decade of Uncertainty
38(9)
A Career in Full Flight
47(7)
Into the 1990s
54(7)
The Compositional Process
61(30)
General Considerations
61(3)
Lyric Sketches
64(4)
Prosody
68(4)
Music Sketches
72(4)
The Score
76(3)
Orchestration
79(7)
Literary Sources
86(5)
A Funny Thing Happened on the Way to the Forum
91(32)
Farce as Genre
91(2)
Plautus, New Comedy, and ``Trick'' Songs
93(5)
The Score and Its Profile
98(3)
The Broadway Matrix and Hispanic Features
101(6)
Refrain and Motif Songs: Structural Ambiguities
107(6)
The Meaning of Song Construction
113(1)
The Whole Song
114(9)
Anyone Can Whistle
123(24)
The Motivic Score
123(1)
Act 1
124(4)
Act 2
128(3)
Act 3
131(2)
The Generic Scheme
133(2)
Divertissement Songs
135(3)
Symphonic Songs
138(3)
A Score in Search of a Show?
141(6)
Company
147(28)
The Concept Musical
147(2)
The Modernist Lyric
149(2)
Urban Music
151(6)
The Score as a Whole
157(3)
The Need for Deconstruction
160(3)
The Question of the Ending
163(3)
The Four Last Songs
166(9)
Follies
175(38)
The Image in the Mirror
175(4)
The List Song
179(2)
Song as Folly
181(3)
Diegetic Song
184(3)
Character Groupings in Follies
187(9)
The Pastiches
196(5)
The Ghost Music
201(4)
The Original Music
205(5)
In Praise of Folly
210(3)
A Little Night Music
213(36)
Sondheim's Middle Period
213(2)
Folly Once More, and Its Motifs
215(4)
Period Tone: The Nineteenth Century
219(6)
The Waltz and Its Symbolism
225(3)
The Metric Fount: Hemiola
228(10)
Character Dances and Further Rhythmic Resources
238(1)
The Lyrics and Hemiola
239(4)
Lyrics and the Luftpause
243(2)
The Ending
245(4)
Pacific Overtures
249(32)
The Orientalist Tradition
249(6)
Pacific Overtures as Historical Pageant
255(3)
The Reflexuive Dimension
258(2)
Aspects of the Lyrics
260(7)
Multiple Perspectives in the Music
267(4)
The Phrygian Matrix and Stylistic Unity
271(7)
The Kabuki Element
278(1)
Ritual Form and the Mimetic Interlude
279(2)
Sweeney Todd
281(30)
A Piece That Sings
281(4)
Is Sweeney Todd Opera?
285(7)
Diegetic Musical Motifs
292(5)
The Dies Irae
297(3)
Structural Processes in the Score
300(5)
The Range of the Score
305(2)
The Universal Ballad
307(4)
Merrily We Roll Along
311(32)
The Problem of the Show Musical
311(5)
The Historical Metaphor
316(4)
Concordances of the Reverse Narrative
320(3)
Musical Planes: Frank and Gussie
323(4)
Modular Furniture: The Popular Song Analyzed
327(8)
Stylistic Unity and the Return to Broadway
335(3)
The Show Song and Its Meanings
338(5)
Sunday in the Park with George
343(38)
The Joyous Synthesis
343(4)
Wagner, Musical Impressionism, and the Synaesthetic Circle
347(4)
Chromatic Theory
351(2)
Chromaticism, Diatonicism, and Pointillism in the Score
353(3)
Promenades
356(8)
Theme and Variation
364(5)
Toward a Fundamental Aesthetic
369(4)
Sondheim Moves On
373(8)
Into the Woods
381(30)
A Fairy Tale Musical
381(6)
Morals and Choices
387(3)
Musical and Lyric Simplicity
390(5)
Beans and Spells
395(6)
Pentatonic Innocence and Children's Games
401(4)
The Music of a Community
405(3)
The Achievement
408(3)
Selective List of Sources 411(10)
Index of Songs and Musical Numbers 421(18)
General Index 439

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