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Chapter_39_6e - Chapter 39 Broadway Film and Chapter 39...

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Unformatted text preview: Chapter 39: Broadway, Film, and Chapter 39: Broadway, Film, and Video Game Music Tin Pan Alley Center of music business in New York City Song pluggers peddled sheet music Irving Berlin “God Bless America” “White Christmas” “There’s No Business Like Show Business” Vaudeville Early form of American musical theater Evolved into the Broadway musical Increasingly associated with Tin Pan Alley The Broadway Musical Emerged shortly after 1900 Spoken dialogue Actors sing emotional highpoints Early Musicals George M. Cohan Little Johnny Jones (1906, includes “Give My Regards to Broadway”) Jerome Kern Showboat (1927) Signature tune: “Ol’ Man River” Includes blues, jazz, and the Negro spiritual Rodgers and Hammerstein Golden era of American musical theater String of hits over two decades Oklahoma! (1943) South Pacific (1949) The Sound of Music (1959) Record sales, movie rights, touring companies increased profit Recent Musicals British megahits of Andrew Lloyd Webber Cats Phantom of the Opera American musical theater in eclipse Revivals Musical theater versions of movies Beauty and the Beast The Lion King Leonard Bernstein (1918­1990) A great 20th century conductor Serious composer Symphonies and ballets Film score and four musicals Virtuoso pianist Educator and advocate for the arts West Side Story (1957) Retelling of Romeo and Juliet Contrasting styles Dissonant, fast dances for gangs Consonant, quiet duets for lovers Stephen Sondheim (1930­) Private student of both Broadway lyricist Oscar Hammerstein II and twelve­tone composer Milton Babbitt Combined serious, complex musical techniques with witty, poetic lyrics Sweeney Todd, the Demon Barber of Fleet Street (1979) Monumental, dissonant, operatic score Technically demanding vocal music Grisly story Film Music Overtures, operatic scenes often were the “score” for silent films Preexisting music in cinema John Williams Full orchestral sound, certain instruments underscore dialogue Themes represent dramatic forces, similar to Wagner’s leitmotifs Video Game music Must be repetitive but adaptable, variable Original music highlighted: Koji Kondo Nobuo Uematsu Martin O’Donnell Live concerts of video game music began in 1980s, growing in popularity ...
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