She has published numerous articles examining gender stereotypes in the context of rock radio programming, socioeconomic influences on Broadway musicals, and the "adult" musical in New York City in the s.
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Wolf teaches courses in American musical theater history, dramaturgy and dramatic literature, histories of U. Wolf's course will be hosting discussions with other musical theater scholar and practitioners throughout the semester. Also on October 25, alumnus Lorraine Goodman, Princeton Class of , will lead a workshop on performing musicals across gender. On November 15, the musical director, composer, and conductor Paul Bogaev will teach a master class. All of these events will be free and open to the public. One of the things that has consistently bothered me is that social reception of a lot of different types of music tends to overwhelmingly favor the past.
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Because he was great. Everything since then is awful! After them, it was all over! The whole thing is dead! Totally not true.
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My attraction to the arts has always been kind of contemporary. Do you find that is partially you working within the confines of music research but, also, within the confines of those who produce musical theater as well? I realize aspects of myself that are particularly stingy.
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I just went through this whole phase where I would refuse to see any musicals that were based on movies. Which, if you think about it, really levels the playing field. At the same time, though, I started recognizing that I was guilty of clinging to the past as well. In the end, I appreciate the ways the industry has worked to keep musical theater alive. There are all sorts of different media that have come along in the years since we relied entirely on live entertainment. So if we could have let it die. Are we going to fix this or are we going to die?
People have been talking about the death of the philharmonic for decades, the death of the indie label, the death of this, the death of that. How long have we been hearing that the music industry is dead? And that publishing is dead? I take my daughter to the theater and she is interested in seeing shows that maybe are not relevant to me, and maybe were made out of movies, but Broadway is still a place that she wants to go to, and musical theater is a thing she still wants to see, and ultimately, I find that fairly exciting.
To go into the book a little bit, the adult musical exists in a similar space within musical theater history. I remember when I was going through graduate school—is there still constant railing against the canon, and much bitching about the canon and how it excludes so much? One of the things that causes tension in the academy is that we try to go against the canon, because the canon excludes so much.
One of the things that fascinates me with theater is that there can never be a true revival. We have things like Encores!
Musical theater, wherever it is staged, is unbelievably reliant upon public memory and public choice. A handful of scholars, a handful of musical theater aficionados, and a handful of critics choose to remember certain shows because they made money, or they lasted for 3, performances, or they won the most Tonys or something. But all shows have something.
And we can learn from this other stuff! I teach an introductory course; you know, a Bach, Beethoven, and Brahms class. The musical theater is particularly prey to what we choose to remember that this praise for the underdog comes from me feeling bad for these shows. Considering the previous issues of musical theater history and the canon, what approaches do you find the most helpful in researching these musical underdogs? Well, a bunch. I really love archive diving.
I really like to look through old, ignored files and see what I can find. The first source is the people who do the work. Why would you remain tied to book-learning if you can call people up and ask them about their show? It just strikes me as missing something.
The immediate source is my favorite aspect any research project. I think what draws me to research project is the chance that I get to talk to people.
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Maybe I could try again. What are your thoughts about this growing emphasis on realness and its influence in adult musicals and in musicals today? He said that he had this vision of just smashing through that. That it was so phony — even the air was phony. The avant-garde had a lot of pull. See the help page for more details.
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Read about Search Operators for some powerful new tools. Holdings Description Table of Contents Comments Similar Items Staff View Table of Contents: The birth of the rock musical in New York City Interlude 1: rock "authenticity" and the reception of the staged rock musical Hair and its imitators Interlude 2 : audiences Rock concept albums and the fragmented musical of the s Interlude 3 : megamusicals Spectacles of the s Interlude 4 : economics and marketing Rock musicians in the musical theater : the s Interlude 5 : merging aesthetics, making performances Rock-influenced musicals at the millennium : the dawning of the age of the revival.
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