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51 Cards in this Set
- Front
- Back
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Boroque Period |
Modern conception of musicals begins with opera in Florence, through-sung by intellectuals re-creating Greek tragedy. |
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CW Gluck |
Opera. Rejected Boroque technique, made plot easier to follow Emphasis from performer -> drama |
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Bel Canto Style |
Enlightenment/Romanticism Return to emphasis on individual singer
i.e. Rossini, Barber of Seville |
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Verdi |
Mid-Late 1800s Dominated Italy, physically demanding roles. |
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Puccini |
Composed "Verisimo" - Violent, passionate portrayals of everyday life. |
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Types of Voices |
1. Legitimate 2. Folk/ Music Hall/ Comedy 3. Legitimate Belt 4. Rock |
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Legitimate Voice |
-Operatic, trained voice -Emphasis on vowels and tonal beauty -Continuity between head and chest voice |
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R. Friml |
Chromatic Style, Close exchanges of tones |
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Minstrel Shows |
Blackface, based on what people heard on the plantation. 1st half set in city, 2nd half set on plantation. |
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Black Ballad Singers |
After civil war, comic songs in dialect. i.e. Bert Williams |
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Irish Tenor |
-Sang folk songs -a trill in the voce -emphasized the consenants so the story could be heard |
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Coon Shouters |
Singing as if you were black |
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Ethnic Trifecta |
Black, Jewish, Irish Catholic |
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Legitimate Belt |
-Chest voice where the singer pushes the head voice to an equivalent to the chest -PUSH rather than PLACE i.e. Ethel Merman |
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Rock Voice |
-Both vowels and consenants are deformed -Rock becomes popular in 60s, moves to Broadway! i.e. Hair -Evokes mood... doesn't super work in musicals |
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Vocal Compass and Tessitura |
Compass: Lowest to Highest Tessitura: Where the notes are mainly placed
1900s - Tessitura was high, Tenors and Sopranos 1930s - Became Bartones and Mezzos or Belt |
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Diatonic |
AKA "White note" Very Simple, opposite of chromatic (1900s) Cohen & Berlin introduced this to musical theatre
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Riffing |
Direct repetition of short melodic phrasing (supa catchy) |
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Top rhythm vs. Bottom rhythm |
Top: melodic rhythm, created by notes of melody
Bottom: Provides fundamental beat, usually provided by percussion |
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March |
-Trochee rather than Iambic -Emphasis on beat 1 and 3 -Not danceable |
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Foxtrot |
-No dominant pace -Iambic in 4/4 i.e. My fair lady |
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Rock Beat |
-Built on pulse rather than beat -Emphasis on back beat, 2 and 4 -Groove grabs you as opposed to melody |
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Ballad Opera |
-Chief form of musicalized drama - satire of popular opera of the day, used folk tunes |
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Beggars Opera |
1st "musical", non-opera Performed in NYC Dec 3rd 1750 headed by 2 actors Murray & Keane Satire on corruption on all levels of society |
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London company of comedians |
1752, sole professional company in US until the revolution |
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Stars |
Mucho expensive, take a high percent of $$ They bring the latest European style |
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Class separation |
Big in Europe, not in US. |
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Uncle Tom Companies |
Based on an anti-slavery novel, adapted for the stage. This catalyzes the North's backing in the civil war Continues after war, very popular. 200+ of these companies. |
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The Black Crook |
-Probably the first musical -Manager wanted to enhance a melodrama, combined forces when academie of music burns down... adds ballerinas! Made lots of money, super long, religious hated it. Spawned a host of fantastical productions. |
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British Blondes |
All female burlesque group. Caused an uproar! Celebrity magazine following. |
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Harrigan & Hart |
Duo brought musical comedy to US Story's are rooted in NYC everyday life. Distinctly American. Mostly musical farces. |
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"The Gay 90s" |
50+ musicals opening in a season! Gags and songs galore.
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The Passing Show |
1894, Revue. Vaudeville type featuring songs and specialty acts. i.e. The follies |
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1890s Amateur |
Mo Immigration, brings new ethnic styles. Huge influence from these communities on broadway. Immigration themes of loneliness of new country, focus on "the other". |
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Victor Herbert |
-Composed more than 50 operettas for Broadway -Distinctly american voice, simple american goodness triumphing over old world ways. -1st Broadway song writer to successfully insist that no changes be made to his writing. -leading force behind ASCAP |
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Franz Lehar |
Merry Widow! Vieneze operertta ft. the vienese waltz Ignites a cultural storm, i.e. Merry Widow cigarettes |
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Rudolph Friml |
Lush Melodramatic operettas Canadian mountee play hahaha |
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Sigmond Romburg |
Staff composer for the shuburt Org. Composed 50+ scores
i.e. Student Prince --> turned into a roadshow cliche
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Ragtime |
First appeared in Clorindy (origins of the cake walk) 1st only black, then the whites sanatized it. New sound, sort of dangerous and modern |
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Sons of Ham |
Featuring Walker (zip-coon) and Williams! (slow-talker). Helps propell them to stardom! |
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Shuffle Along! |
Super silly with Jazz and Ragtime, spawned a new generation of black musicals with super shitty plots |
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Porgy and Bess |
Based on a novel, super depressing. Made sure it was done on broadway so black people were used. |
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Floradora |
Opened London, brought to U.S. by a young producer along with 6 hotties (Floradora girls). Public became fascinated with these women, lots of publicity stunts. |
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George M. Cohen |
Irish American -Wrote, produced, performed in "jingoistic": overly patriotic comedies -NY style street smarts, american know-how -Becomes one of the most powerful broadway producers |
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Florenz Ziegfield |
Broadways biggest showman! Produced his first musical to showcase his french singer wife... she then inspired him to create the "follies". |
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Ziegfield Follies |
Based on a revue from France, featuring legions of beautifully dressed women, huge production numbers with small comedy acts in between. Sexy but never trashy. Became so popular it became an annual institution. Very fashionable Design standards super high |
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Jerome Kern |
Composer who got his start from amending the scores of imported British Musicals.
"The princess theatre" musicals... small musicals. |
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Irving Berlin |
Early populizer of simplified ragtime music. This music sets the pace of popular music. i.e. Tin Pan Alley He contributed single songs to other projects such as the Zigfield Follies. Had a dope career until he was super old. |
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the 1920s |
Many new musicals were produced (300 a year in 1928) Shows wanted to stay in NYC, not go on the road. Prices were up The songs had little to do with plot... i.e. Tee oodle um bum bo
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Al Jolson |
Top musical star of the 1920s! Stared in minstrel shows and vaudeville His charismatic singing brought people to shows! His pathos and comedy had an almost sexual effect. His main talent was his ego.
"Gus", 3 biggest hits based on this blackface character, in which he interpelated his favourite number. |
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Eddie Cantor |
Started in vaudeville, then had a blackface character on Broadway called "Jefferson". Teamed up with Bert Williams in the Zeigfield Follies. |
