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Allegro non troppo - Marco Bellano - Bog - Bloomsbury Publishing Plc - Plusbog.dk

Allegro non troppo - Marco Bellano - Bog - Bloomsbury Publishing Plc - Plusbog.dk

Marco Bellano''s open access book reconstructs the history of the production of Allegro non Troppo , on the basis of an original research developed with the contribution of Bozzetto himself; it also presents an audiovisual analysis of the work, as to reassess the international relevance of Bozzetto''s achievements by giving insight into the director''s creative process. "A film that will let you see the music and listen to drawings; in a word, a film full of Fantasia! " Bruno Bozzetto''s Allegro non Troppo tips its hand right away: it is an unabashed, yet full of admiration, retake on Walt Disney''s 1940 "concert feature". The obvious nod to that model fuels many tongue-in-cheek jokes in the film; however, Allegro non Troppo soon departs from mere parody, and becomes a showcase for the multifaceted aesthetics of Italian animation in 1976, as well as a witty social satire and a powerful rethinking of the music-image relationship in cinema. The eBook editions of this book are available open access under a CC BY-NC-ND 4.0 licence on bloomsburycollections.com.

DKK 556.00
1

Beautiful Mornin' - Ethan Mordden - Bog - Oxford University Press Inc - Plusbog.dk

Beautiful Mornin' - Ethan Mordden - Bog - Oxford University Press Inc - Plusbog.dk

''Music and girls are the soul of musical comedy,'' one critic wrote, early in the 1940s. But this was the age that wanted more than melody and kickline form its musical shows. The form had been running on empty for too long, as a formula for the assembly of spare parts--star comics, generic loves songs, rumba dancers, Ethel Merman. If Rodgers and Hammerstein hadn''t existed, Broadway would have had to invent them; and Oklahoma! and Carousel came along just in time to announce the New Formula for Writing Musicals: Don''t have a formula. Instead, start with strong characters and atmosphere: Oklahoma!''s murderous romantic triangle set against a frontier society that has to learn what democracy is in order to deserve it; or Carousel''s dysfunctional family seen in the context of class and gender war. With the vitality and occasionally outrageous humour that Ethan Mordden''s readers take for granted, the author ranges through the decade''s classics--Pal Joey, Lady in the Dark, On the Town, Annie Get Your Gun, Finian''s Rainbow, Brigadoon, Kiss Me, Kate, South Pacific. He also covers illuminating trivia--the spy thriller The Lady Comes Across, whose star got so into her role that she suffered paranoid hallucinations and had to be hospitalized; the smutty Follow the Girls, damned as ''burlesque with a playbill'' yet closing as the longest-run musical in Broadway history; Lute Song, in which Mary Martin and Nancy Reagan were Chinese; and the first ''concept'' musicals, Allegro and Love Life. Amid the fun, something revolutionary occurs. The 1920s created the musical and the 1930s gave it politics. In the 1940s, it found its soul.

DKK 486.00
1

Mahler's Symphonic Sonatas - Seth Monahan - Bog - Oxford University Press Inc - Plusbog.dk

Mahler's Symphonic Sonatas - Seth Monahan - Bog - Oxford University Press Inc - Plusbog.dk

Why would Gustav Mahler (1860-1911), modernist titan and so-called prophet of the New Music, commit himself time and again to the venerable sonata-allegro form of Mozart and Beethoven? How could so gifted a symphonic storyteller be drawn to a framework that many have dismissed as antiquated and dramatically inert? Mahler''s Symphonic Sonatas offers a striking new take on this old dilemma. Indeed, it poses these questions seriously for the first time. Rather than downplaying Mahler''s sonata designs as distracting anachronisms or innocuous groundplans, author Seth Monahan argues that for much of his career, Mahler used the inner, goal-directed dynamics of sonata form as the basis for some of his most gripping symphonic stories.Laying bare the deeper narrative/processual grammar of Mahler''s evolving sonata corpus, Monahan pays particular attention to its recycling of large-scale rhetorical devices and its consistent linkage of tonal plot and affect. He then sets forth an interpretive framework that combines the visionary insights of Theodor W. Adorno-whose Mahler writings are examined here lucidly and at length-with elements of Hepokoski and Darcy''s renowned Sonata Theory. What emerges is a tensely dialectical image of Mahler''s sonata forms, one that hears the genre''s compulsion for tonal/rhetorical closure in full collision with the spontaneous narrative needs of the surrounding music and of the overarching symphonic totality. It is a practice that calls forth sonata form not as a rigid mold, but as a dynamic process-rich with historical resonances and subject to a vast range of complications, curtailments, and catastrophes.With its expert balance of riveting analytical narration and thoughtful methodological reflection, Mahler''s Symphonic Sonatas promises to be a landmark text of Mahler reception, and one that will reward scholars and students of the late-Romantic symphony for years to come.

DKK 566.00
1

Agnes de Mille - Kara Anne (associate Dean Of Faculty Gardner - Bog - Oxford University Press Inc - Plusbog.dk

Agnes de Mille - Kara Anne (associate Dean Of Faculty Gardner - Bog - Oxford University Press Inc - Plusbog.dk

This book explores the Broadway legacy of choreographer Agnes de Mille, from the 1940s through the 1960s. Six musicals are discussed in depth - Oklahoma!, One Touch of Venus, Bloomer Girl, Carousel, Brigadoon, and Allegro. Oklahoma!, Carousel, and Brigadoon were de Mille''s most influential and lucrative Broadway works. The other three shows exemplify aspects of her legacy that have not been fully examined, including the impact of her ideas on some of the composers with whom she worked; her ability to incorporate a previously conceived work into the context of a Broadway show; and her trailblazing foray into the role of choreographer/director. Each chapter emphasizes de Mille''s unique contributions to the original productions. Several themes emerge in looking closely at de Mille''s Broadway repertoire. Character development remained at the heart of her theatrical work work. She often took minor characters, represented with minimal or no dialogue, and fleshed out their stories. These stories added a layer of meaning that resulted in more complex productions. Sometimes, de Mille''s stories were different from the stories her collaborators wanted to tell, which caused many conflicts. Because her unique ideas often got woven into the fabric of her musicals, de Mille saw her choreography as an authorship. She felt she should be given the same rights as the librettist and the composer. De Mille''s work as an activist is an aspect of her legacy that has largely been overlooked. She contributed to revisions in dance copyright law and was a founding member of the Stage Directors and Choreographers Society, a theatrical union that protects the rights of directors and choreographers. Her contention that choreographers are authors who have their own stories to tell offers a new way of understanding the Broadway musical.

DKK 442.00
1

The Complete Lyrics of Oscar Hammerstein II - Oscar Hammerstein - Bog - Random House USA Inc - Plusbog.dk

The Complete Lyrics of Oscar Hammerstein II - Oscar Hammerstein - Bog - Random House USA Inc - Plusbog.dk

From every “beautiful mornin’” to “some enchanted evening,” the songs of Oscar Hammerstein II are part of our daily lives, his words part of our national fabric.Born into a theatrical dynasty headed by his grandfather and namesake, Oscar Hammerstein II breathed new life into the moribund art form of operetta by writing lyrics and libretti for such classics as Rose-Marie (music by Rudolf Friml), The Desert Song (Sigmund Romberg), The New Moon (Romberg) and Song of the Flame (George Gershwin). Hammerstein and Jerome Kern wrote eight musicals together, including Sweet Adeline, Music in the Air , and their masterpiece, Show Boat . The vibrant Carmen Jones was Hammerstein’s all-black adaptation of the tragic opera by Georges Bizet.In 1943, Hammerstein, pioneer in the field of operetta, joined forces with Richard Rodgers, who had for the previous twenty-five years taken great strides in the field of musical comedy with his longtime writing partner, Lorenz Hart. The first Rodgers and Hammerstein work, Oklahoma! , merged the two styles into a completely new genre—the musical play—and simultaneously launched the most successful partnership in American musical theater. Over the next seventeen years, Rodgers and Hammerstein wrote eight more Broadway musicals: Carousel, Allegro, South Pacific, The King and I, Me and Juliet, Pipe Dream, Flower Drum Song, and The Sound of Music. They also wrote a movie musical (State Fair) and one for television (Cinderella) . Collectively their works have earned dozens of awards, including Pulitzers, Tonys, Oscars, Grammys, and Emmys.Throughout his career, Hammerstein created works of lyrical beauty and universal feeling, and he continually strove—sometimes against fashion—to seek out the good and beautiful in the world. “I know the world is filled with troubles and many injustices,” he once said. “But reality is as beautiful as it is ugly . . . I just couldn’t write anything without hope in it.”All of his lyrics are here—850, more than a quarter published for the first time—in this sixth book in the indispensable Complete Lyrics series that has also brought us the lyrics of Cole Porter, Lorenz Hart, Ira Gershwin, Irving Berlin, and Frank Loesser. From the young scribe’s earliest attempts to the old master’s final lyric—“Edelweiss”—we can see, read, and, yes, sing the words of a theatrical and lyrical genius.

DKK 524.00
1