LEADER 04151nam 2200649Ia 450 001 9910465793903321 005 20200520144314.0 010 $a9786611868208 010 $a0-19-972321-4 010 $a1-281-86820-5 035 $a(CKB)2560000000296404 035 $a(EBL)415926 035 $a(OCoLC)467183192 035 $a(SSID)ssj0000210576 035 $a(PQKBManifestationID)11189874 035 $a(PQKBTitleCode)TC0000210576 035 $a(PQKBWorkID)10283798 035 $a(PQKB)10315923 035 $a(StDuBDS)EDZ0000072409 035 $a(MiAaPQ)EBC415926 035 $a(PPN)232712166 035 $a(Au-PeEL)EBL415926 035 $a(CaPaEBR)ebr10263671 035 $a(CaONFJC)MIL186820 035 $a(EXLCZ)992560000000296404 100 $a20071012d2008 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 14$aThe new music theater$b[electronic resource] $eseeing the voice, hearing the body /$fEric Salzman and Thomas Desi 210 $aOxford ;$aNew York $cOxford University Press$d2008 215 $a1 online resource (417 p.) 300 $aDescription based upon print version of record. 311 $a0-19-509936-2 311 $a0-19-986473-X 320 $aIncludes bibliographical references (p. [377]-381) and index. 327 $aContents; Preface; Introduction: What Is Music Theater?; part i: Music in Music Theater; Chapter 1: The Voice; Chapter 2: Where the Sound Comes From; entr'acte i: Is there such a thing as progress in opera or music theater?; Chapter 3: The Music; part ii: Theater in Music Theater; Chapter 4: Cultural Narratives and Performance Institutions; entr'acte ii: A woman's earring, a diamond necklace, a knee, a yogi in meditation, drawing, a mahout looking after an elephant: the language of Kathakali; Chapter 5: Text; Chapter 6: Visual Strategies; Chapter 7: Space 327 $aentr'acte iii: A theater of warm bodies?part iii: Putting It All Together: La Mise en Sce?ne; Chapter 8: The American Eccentrics; Chapter 9: Music Theater as Musiktheater; Chapter 10: From the Homeland: Teatro Musicale; Chapter 11: The?a?tre Musical; Chapter 12: Music Theater in Northern Europe; entr'acte iv: The art form that never happened; Chapter 13: Downtown; Chapter 14: Minimalism and Music Theater; Chapter 15: The Show Must Go On; Chapter 16: The Art of the In-Between; Chapter 17: Extended Voice; Chapter 18: New Media and Music Theater; entr'acte v: . . . and how did you like it? 327 $apart iv: After the Show: Taking It ApartChapter 19: Toward a Theory of the New Music Theater; Chapter 20: Notation versus Improvisation?; Chapter 21: Popular or High Art?; Chapter 22: Is Anyone Listening?; Appendix I: A Quick Summary of the History of Music Theater; Appendix II: Selected Reading; Appendix III: Some Festivals and Performance Institutions; Index; A; B; C; D; E; F; G; H; I; J; K; L; M; N; O; P; Q; R; S; T; U; V; W; X; Y; Z 330 $aIntroduction: What is Music Theater? Part I: Music in Music Theater 1. The Voice 2. Where the Sound Comes From 3. The Music Entr'acte I: Is there such a thing as progress in music and music theater? Part II: Theater in Music Theater 4. Theater, Music, and Culture 5. Text Entr'acte II: The Language of Kathakali 6. Visual Strategies 7. Space Entr'acte III: A Theater of Warm Bodies? Part III: Putting it all together: La Mise en Scene 8. The American Eccentrics 9. Germany and Austria 10. The Italians Entr'acte IV: The In Between 11. Music Theater in France 12. Great Brita 606 $aMusic theater$y20th century$xHistory and criticism 606 $aDrama$y20th century$xHistory and criticism 608 $aElectronic books. 615 0$aMusic theater$xHistory and criticism. 615 0$aDrama$xHistory and criticism. 676 $a792.6 700 $aSalzman$b Eric$01056420 701 $aDe?zsy$b Thomas$f1967-$01056421 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910465793903321 996 $aThe new music theater$92490763 997 $aUNINA LEADER 03564nam 2200553 a 450 001 9910792225203321 005 20190108070301.0 010 $a0-19-974589-7 010 $a0-19-022538-6 010 $a9786612731112 010 $a1-282-73111-4 010 $a0-19-974218-9 024 7 $a2027/heb31419 035 $a(CKB)2560000000296573 035 $a(EBL)472292 035 $a(OCoLC)609850545 035 $a(SSID)ssj0000366535 035 $a(StDuBDS)EDZ0000075859 035 $a(MiAaPQ)EBC472292 035 $a(dli)HEB31419 035 $a(MiU) MIU01100000000000000000733 035 $a(EXLCZ)992560000000296573 100 $a20090220d2010 uy 0 101 0 $aeng 135 $aur||||||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aTap dancing America $ea cultural history /$fConstance Valis Hill 210 $aNew York ;$aOxford $cOxford University Press$d2009 215 $a1 online resource (612 p.) 300 $aDescription based upon print version of record. 311 $a0-19-539082-2 311 $a0-19-986356-3 320 $aIncludes bibliographical references (p. 391-408) and index. 327 $aTrickster Gods and rapparees (1650-1900) -- Buck-and-wing (turn of the century) -- Over-the-top and in-the-trenches (teens) -- Simply full of jazz (twenties) -- Swing time (thirties) -- Jumpin' jive (forties) -- Beat, bebop, birth of the cool (fifties) -- Tap happenings (sixties) -- Nostalgia, and all that tap (seventies) -- Black and blue (eighties) -- Noise and funk (nineties) -- Hoofing in heels (millennium). 330 $aThis is the first comprehensive, fully documented, intercultural history of tap dance, a uniquely American art form, that explores all aspects of the intricate musical and social exchange that evolved from Afro-Irish percussive step dances like the jig, gioube, buck-and-wing, and juba to the work of contemporary tap luminaries. Tap dance evolved from the oral traditions and expressive cultures of the West Africans and the Irish that converged and collided in America, and was perpetuated by such key features as the tap challenge?any competition or showdown in which dancers compete against each other before an audience of spectators or judges. The book begins with an account of a buck dance challenge between Bill (?Bojangles?) Robinson and Harry Swinton at Brooklyn?s Bijou Theatre, in 1900, and proceeds decade by decade through the twentieth century. Vividly described are tap?s musical styles and steps?from buck-and-wing and ragtime stepping at the turn of the century; jazz tapping to the rhythms of hot jazz, swing, and bebop in the 1920s, 1930s, and 1940s; to hip-hop-inflected hitting and hoofing in heels (high and low) from the 1990s up to today. Tap dancing has long been considered ?a man?s game,? and this book is the first history to highlight such outstanding female artists as Ada Overton Walker, Kitty O?Neill, and Alice Whitman, at the turn of the twentieth century, as well as the pioneering women composers of the tap renaissance, in the 1970s and 1980s, and the hard-hitting rhythm-tapping women of the millennium. 606 $aTap dancing$zUnited States$xHistory 615 0$aTap dancing$xHistory. 676 $a792.7/8 700 $aHill$b Constance Valis$01584882 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 801 2$bSFU 906 $aBOOK 912 $a9910792225203321 996 $aTap dancing America$93868966 997 $aUNINA