David Willcocks Gether With Reginald Jacques

Jim Papoulis is donating his composer royalties to the Foundation For Small Voices, a nonprofit organization dedicated to bringing awareness and funding to programs supporting children empowerment throughout the world by fostering their creativity through music and role models.

With support from Hal Leonard Corporation and Walton Music Publishers, sponsored by the Thomas Circle Singers and the DC/MD American Choral Directors Association.

I Realized We Don’T Really Know Who Our Readers Are – Wikiproject Composers/Archive: Wikipedia Talk

Folantin’s remark that we tend to imagine our readers in our own images to be profound and inspiring.

There were three questions which related specifically to readers reactions to the article. Comments None were negative.

More than half the respondents, and the others either once played, or listen to a bunch of classical music. This ain’t an ignorant crowd -they come to these articles with a solid grounding in classical music. Although, respondents Six said they read the articles specifically because they were doing a school assignment. One other was looking for a work opus number. School has a lot to do with reading these articles.

While I have some sympathy with the ‘contra’ remarks above I also think Ravpapa’s point is important.

Indeed the responses above might indicate that we are all taking in each other’s washing, to some extent. Smerus 1404, 6 March 2010 Here is a summary of the survey results I performed on readers of five Wikipedia articles on classical music compositions. The only feedback I get in general is when I tread on some other editor’s toes. You should take this seriously. Readers who want to see the survey original data or the detailed participant analysis responses are welcome to see it here.

I apologize to all those project members who ok offense at this initiative. Two of these I consider to be among the best things I have written for Wikipedia, one I consider okay, and two I consider to be mediocre to middling bad.

I probably should have raised the proposal on the project page first, before diving in head first, since this survey was definitely a deviation from the way we usually do things at Wikipedia. String Quartet No. Whenever String Quartets, Op, death and the Maiden Quartet, Große Fuge. I knew that, were I to do this, there would be no consensus about the survey, and it never would have gone ahead. I’m sure you heard about this. I decided to take the plunge, and talk later, since I considered it to be an important enough experiment. Besides, string Quartet No. For the survey, I selected five articles on string quartets.

I don’t think these readers articles are the same readers that read more general music articles, I don’t know if we can actually use the results in operative decisions in the project, as I said.

It is certainly large enough to draw conclusions, especially where clear patterns exist. Participation in the survey was voluntary, and 90 readers percent chose not to participate, It is clearly not a representative crosssection of the readers. 37 isn’t a particularly significant sample statistically, as Centy pointed out in an earlier thread. For instance, when we consider issues of policy, we can’t very well take into account people opinions who have expressed none. Now let me tell you something. On the contrary, the sample represents 100 readers percent who felt the article important enough to participate in the survey, and those are the readers we should be concerned. The fact that the sample isn’t representative does not bother me. It is fair to assume that nonparticipants included more casual readers -readers, for example, for whom infoboxes might be useful.

One was clearly a crank response, and I deleted it.

Based on this, I estimate that the articles had a tal of from 100 to 150 readers per day, or 300 to 450 readers during the three course days that the poll ran. Essentially, the articles get a combined average of 400 hits per day. For those who read the article, I estimate that each reader generated from 1 to 4 hits on the article. Of these, I estimate that about 100 are accidents -people who arrived at the article page with no intent to read it.

Two respondents said they accessed the article because they wanted to listen to it. SurveyMonkey, and put a link to the survey on four articles that I wrote or had a hand in editing, and String Quartets. You see, I decided to do a poll. Three others specified in comments that they enjoyed or looked for media files illustrating the articles.

Wikipedia.

I intend at the Strategy Wiki to propose development of a survey ol that editors can insert into their articles to get reader feedback. I think the readership analysis ain’t necessarily applicable to articles on composers, on musical genres or periods, and other pics of more general interest. Just think for a moment. One would guess that these subject articles is arcane enough to attract a rather specific audience, and this is indeed borne out by the results presented below.

This survey was inspired by Folantin’s comment that we tend to view our readers in our own image. I have many similarities with my readers. Beyond that, I will certainly take quite a few specific comments into account when editing these articles, and others as well. Then, and no longer a youngster, I am a musician and I do consider myself to be knowledgeable about music, although I am no longer a student.

Criticisms were generally quite explicit and accurate.

Some readers wanted more references don’t say where they got their information, so I don’t know how trustworthy and authoritative it is), and more detail ). Some readers wanted more references don’t say where they got their information, so I don’t know how trustworthy and authoritative it is), and more detail ). Of course others complained that most of the analyses were o technical, and one reader actually asked for less detail. Criticisms were generally quite explicit and accurate. Others complained that most of the analyses were o technical, and one reader actually asked for less detail.

9 March 1 May 18 And May 22 – U Of C Presents Sets Its – Concert Season

Rounding out the of Presents series going to be four Contempo concerts performed by resident ensembles eighth blackbird and Pacifica Quartet on Jan.

The Pacifica Quartet will play music of Beethoven and Dvorak on April 8, in addition to presenting the complete Shostakovich string quartets and Piano Quintet in five concerts throughout the season at Roosevelt University’s Ganz Hall. March 1, May 18 and May Venues include Ganz Hall and the Harris Theater for Music and Dance at Millennium Park.

French pianist Lise de la Salle on April 10 and a jazz concert by the Lionel Lueke Trio on April 15 will complete the season. And the Rose Ensemble on April 29, The series will continue with the Montrealbased Masques ensemble on March 4. Fretwork, a celebrated consort of viols, will open the Howard Mayer Brown International Early Music Series on Oct.

Mezzo soprano’ Joyce DiDonato, the early music group Fretwork, and the Emerson, Tokyo and Pacifica string quartets will highlight the 2010 11 concerts season presented by Chicago University.

All events will take place at Mandel Hall unless otherwise noted. Usually, di Donato will make her Chicago recital debut Feb. The Emerson String Quartet will perform works by Haydn, Mendelssohn, Berg and Debussy on Jan.

Subscriptions go on sale April 8, single tickets on Sept. Tokyo String Quartet playing works by Mozart, Schumann and Lera Auerbach. For further information, call 773 702 8068 or visit chicagopresents. While playing Russian piano trios Nov, the highly regarded Macedonian pianist Simon Trpceski will head a trio consisting of violinist Gjorgji Dimchevski and CSO cellist Kenneth Olsen. The series will get under way Oct.

Pianist composer’ Auerbach returns to join cellist Ani Aznavoorian for an allRussian program Nov.

Articles Focus On Music Therapy Practice: American Music Therapy Association

 musicalArchives of past ‘on line’ issues can be found in the AMTA Member Toolkit on the AMTA website.

AMTA members joining after a specific issue was emailed out may check the Member Toolkit for access to all previous issues. In addition on p of academics and administration, articles focus on music therapy practice. Essentially, designed to appeal to a wide readership, both inside and outside music profession therapy.

Please note that while every effort will be made to include submissions received, they will be published on a ‘space available’ basis. Generally happen around each 15th month, publication dates are subject to change. Submissions should be edited for content, grammar and length. Learn about our AMTA early childhood network opportunities, international perspectives on early childhood music therapy, and the imagine editorial team. Then, be part of future issues by reading the guidelines for authors and submitting your paper.

For instance, to contact the Browse the imagine archive using an innovative viewing mode.

An index appears in issue four of each volume. The journal strives to present a variety of research approaches and topics, to promote critical inquiry, and to serve as a resource and forum for researchers, educators, and clinicians in music therapy and related professions. On p of this, the journal publishes all types of research types, including quantitative, qualitative, historical, philosophical, theoretical, and musical, and may include discipline, profession, and foundational research topics, in order to this end. Basically, iSSN ‘0022 2917’

Music Journal Therapy seeks to advance research, theory, and practice in music therapy through the dissemination of scholarly work. A well-known fact that is. Its mission is to promote scholarly activity in music therapy and to foster the development and understanding of music therapy and musicbased interventions.

The above publications, AMTA periodically publishes monographs such asthe monograph series Effective Clinical Practice in Music Therapy, Music in Special Education, Music Therapy and Premature Infants or Music Therapy in Pediatric Healthcare.

Partnerships in Care. Enews subscription is free and available to all. AMTA also produces videos such as Music Therapy Medicine. Back issues of music therapy journals are available as well as products and informational brochures about the music therapy profession. Music Therapy ENews is hosted through Yahoo Groups, a free email group service. Although, music Therapy ENews is an electronic newsletter published by the American Music Therapy Association which brings timely information on music therapy to its subscribers, relevant to music profession therapy.

Article submissions will be reviewed by the Editor and AMTA Executive Director and considered for inclusion based on available space and relevance to the music therapy profession and circulation of Music Therapy Matters Monthly. Article submissions will be reviewed by the Editor and AMTA Executive Director and considered for inclusion based on available space and relevance to the music therapy profession and circulation of Music Therapy Matters Monthly.

And Ruth Hoberman Eds

Benzel, Kathryn and Ruth Hoberman.

Trespassing Boundaries. New York Basingstoke. There is a lot more information about it on this site. Virginia Woolf’s Short Fiction.

Palgrave Macmillan.

Virginia Woolf. Whenever letting the reader’s imagination go on with the writer’s work, letting the reader enter the text through its loopholes, what Woolf describes here goes what Roland Barthes calls reading looking up. It floats far out at sea. Fact, ce texte est mis en ligne sur La Clé des langues avec l’autorisation des Presses de l’Université d’Angers, éditeurs des The route the reader must follow when reading Browne and Hackluyt is a long and circuitous one in which his or her attention wanders. Ok, and now one of the most important parts. It is soothed almost to sleep. With more that one can grasp at any single reading, and instead of being linear. a world of magic such as the one the children discover at night with great excitement, uch creative reading can only be induced by a text rich.

Why beauty should have upon us the effect that it does, the strange serene confidence that it inspires in us, none can say.

This is at least what all the contributors to this special issue have experienced and the gifts they make are the essays presented here. Most people have tried and perhaps one beauty invariable properties is that it leaves in the mind a desire to impart. Generally, some are distinguished work scholars, others of younger readers, Some break new ground, some exemplify enduring trends in Woolfian criticism. Oftentimes if only to move across the room and turn the rose in the jar, some act we must dedicate, Some offering we must make. Whenever illuminating them and thus bringing to the fore texts that tend to be relegated to the margins of Woolf’s work, they all shed alternative light on Woolf’s short stories, which they analyse either in group or separately.

Baldwin, Dean Virginia Woolf. Short Fiction. Twayne Publishers, 1989 Barthes. Seuil, ’33 36′. Ecrire la lecture.

Learn The Difference Between Violin And Fiddle: The North Indian Sarangi

Over in the musicology department, The New Grove Dictionary of Music and Musicians defines fiddle as a generic term for any chordophone played with a bow.

Hispano Folk Rio Music Grande del Norte. With playing strings stopped by the fingernails and 35 sympathetic strings, the orth Indian sarangi; and the rebab, a spike fiddle whose quavering song floats on metallophones p in Java gamelan orchestras and Bali, This instrument group includes the violin and many other instruments as diverse as the onestring goge of ‘subSaharan’ Africa, having a gourd sound box covered with iguana or boa skin. It’s a well abenicio Montoya of Santa Fe, New Mexico, plays it in that style on La collected recordings Musica de los Viejitos. This beautiful book and three CD set, written and produced by Jack Loeffler, focuses on traditional Hispanic musicians of New Mexico and southern Colorado. All the while, in small wns on both Mexican sides border far from TV cameras and recording studios, Sobre las Olas was a standard tune at social dances and weddings.

The Rhythm Future Quartet, comprised of violinist Jason Anick, guitaristsOlli Soikkeli and Max O’Rourke and bassist Greg Loughman, stopped by the Strings studio to offer up some ‘gypsyjazz’ tunes. They’re really similar instrument, just different kinds of music. I could quit my day job and spend more time playing my -well, violin or fiddle, if I had a dollar for every time someone has asked me at a wedding reception or a coffeehouse gig if I play fiddle or violin.

Popeye the Sailor cartoons on my family’s primordial ‘blackandwhite’ TV.

The fiddler’s artistry lies in the nuanced bowing and subtle variety with which these deceptively simple tunes are spun out, This structural simplicity opens up room for variations and impromptu embellishments. In 1969, Nashville great Kenny Baker included his fiddle version with a bluegrass band on the classic album Portrait of a Bluegrass Fiddler.

Most of the most interesting music has always come out of projects that cross conventional day boundaries, and these days players with prodigious technical skill are busy collaborating across the violin/fiddle boundary.

During the prelude to a wedding ceremony while guests are gathering, I play some old Irish airs and other tranquil numbers to calm everyone’s nerves.

In the United States, most often fiddle means the violin as used in ‘Irish Scottish French’ traditional music and all the descendant American styles. Needless to say, western classical players sometimes use fiddle as an affectionate term for the violin, that intimate companion and workmate. Just before the bride’s processional, I often play my own arrangement of Henry Purcell’s Trumpet Tune in Setting key it this way gives easy access to plenty of ‘doublestops’ using open strings for a big, bold sound, heightening the anticipation among the assembled guests.

Nourishing an abundance of life, there will also always be a rich musical territory where violin and fiddle music blend, and people puzzle over what they should call that instrument, like an estuary where salt and fresh water mix. They may have used the name violin to distinguish their music from square older style dance fiddling, day the rough edged sound of these players would put them in the fiddlers’ camp.

While playing in loose unison or trading phrases with the singer, the later string bands featured original songs with violin accompaniment in a brand new bluesy style that takes the voice as its model.

Before jazz and blues emerged around the 20th turn century, there was already a long tradition of grey string bands that used fiddle and banjo far more than guitar. However, while taking time for pauses and longheld notes, even during instrumental breaks the violin breathes. Continuing on into the 1920s and ’30s, the string bands listed the instrument as violin on their recordings. Although, while giving the players space to deploy a wealth of violin techniques, tempos are generally relaxed.

On the surface, this kind of fiddle music is technically less complex than classical violin. Even when we’re just listening to a ‘well played’ fiddle tune, chances are we’re moving our bodies somehow -tapping our feet or fingers, or nodding our heads. Usually, fiddling calls for great skill in producing the rhythmic and melodic lift originally intended to get people dancing and keep them that way. On p of this, fiddling calls for great skill in producing the rhythmic and melodic lift originally intended to get people dancing and keep them that way. Many fiddle players never leave first position.

On the surface, this kind of fiddle music is technically less complex than classical violin. The emphasis tends to be on rhythmic drive and a steady flow of melody through basic forms, often AABB. Even when we’re just listening to a ‘well played’ fiddle tune, chances are we’re moving our bodies somehow -tapping our feet or fingers, or nodding our heads. The emphasis tends to be on rhythmic drive and a steady flow of melody through basic forms, often AABB. Oftentimes many fiddle players never leave first position.

David Willcocks Gether With Reginald Jacques

With support from Hal Leonard Corporation and Walton Music Publishers, sponsored by the Thomas Circle Singers and the DC/MD American Choral Directors Association.

Jim Papoulis is donating his composer royalties to the Foundation For Small Voices, a ‘nonprofit’ organization dedicated to bringing awareness and funding to programs supporting children empowerment throughout the world by fostering their creativity through music and role models.

The Source Is Clearly Displayed For Every Entry – Oxford Music Online

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Tips for Oxford Music Online Users

Tips for Oxford Music Online Users.

16 In E-Flat Major And No: Haydn Quartets (Mozart)

The quartets also feature a wide range of emotional content from the Sturm und Drang of No.

Bflat major, the Hunt. With that said, haydn first heard the quartets at two gatherings at Mozart’s home, 15 January and 12 February 1785. Seriously. Eflat major, and No. Then again, he has taste,, what’s more, the most profound knowledge of composition. And as a honest man, I tell you that your son is the greatest composer known to me either individually or by name, before God. There is a lot more info about it on this site. Haydn made a now famous remark to Mozart’s father Leopold, who was visiting from Salzburg, after hearing them all. Dissonance, and hereupon to the opera buffa styled ‘light heartedness’ in No finale.

The comment was preserved in a letter Leopold wrote 16 February to his daughter Nannerl.

The Haydn form Quartets follows the standard set by Haydn in the 1770s. They feature rich cantabile melodic writing with thematic multiplicity and embellishment that displays a departure from the Haydnesque mode. Like the symphony form, at this time, the quartet began to consistently have four movements. These slow movement works, found in either the second or third movements, are highlighted as the emotional center of each quartet. With the second and third movements interchangeable in different works, the six basic form aydn Quartets is as follows.

Early Haydn reception Quartets was both enthusiastic and disgruntled.

These works stand as some of Mozart’s most famous works. o complex and difficult to enjoy, an anonymous early reviewer. Gave a judgment characteristic of reaction to Mozart’s music at the time, namely that the works were inspired. They are considered established chamber keystones music repertoire and are heard frequently in concerts, radio broadcasts, and recordings.

The Classical string quartet form was created by Joseph Haydn in the late 1750s. He is described as the string father quartet because in his tal of sixtyeight quartets he developed this genre into its first maturity. The string quartet features four parts for two violins, viola and cello. Then again, he is described as the string father quartet because in his tal of sixtyeight quartets he developed this genre into its first maturity. The Classical string quartet form was created by Joseph Haydn in the late 1750s. Its function was designed for private or semi private performances in the aristocratic salon or middleclass parlor. Its function was designed for private or semi private performances in the aristocratic salon or middleclass parlor. The string quartet features four parts for two violins, viola and cello.

Thus We Learn How The Creation Of Tin Pan Alley: A History Of The Broadway Musical Theater: Showtime

We undoubtedly should take advantage of our subscription and unlock all of Times Higher Education’s content, if you like what you’re reading online.

We also learn that the term refers to the pianos metallic tinkle that could’ve been heard from the numerous offices of songwriters desperately searching for the next hit melody. Consequently, thus, we learn how Tin creation Pan Alley, which would ultimately become a moniker for the music business itself, coincided with relocation of the music the relocation business to Times Square in the 1890s. I’m sure you heard about this. It is at this point that the pace of Broadway’s evolution – book and itself -quickens, with a particularly impressive anchoring of events within the economic context, social and cultural development of New York City.

When the curtain rose at Richard Broadway premiere Rodgers and Oscar Hammerstein’s Oklahoma! While offstage a cowboy sang the simple melody of Oh, not young because dancing showgirls -for there were none – at a sight ‘middleaged’ lady. Sitting on a porch churning butter, What a Beautiful Morning. Usually, march 1943, the audience gasped. Then, when he played the leading role in Macbeth and mayhem and death ensued, the narrative traces the Broadway origins musical back to the riots that accompanied appearance of the British the appearance actor William Charles Macready at the Astor Place Opera House in New York City in May 1849.

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Stempel lives with his wife Carol in Mount Vernon, New York and is a 18lb proud owner beagle. Stempel looks forward to their walks, when they have the chance to bond on whoever’s terms, although he thinks the dog believes she is his owner. Generally, the e mail address is not made public and will only be used if you wish to receive a new password or wish to receive certain news or notifications by email.

Indeed, it is at this point that Broadway takes another quantum leap. It is hard to argue with that contention when you think of timeless Cohan compositions such as Yankee Doodle Boy, You’re a Grand Old Flag. Notice, the search for more complex books aligned with more contemporaneous music would lead to Alan groundbreaking success Jay Lerner and Frederick Loewe’s My Fair Lady in 1956 -a musical that drew from George Bernard Shaw’s Pygmalion -and then to Stephen Sondheim, Leonard Bernstein and Arthur Laurents’ enthralling West Side Story, whose updating of Romeo and Juliet represents another peripeteia in Stempel’s eyes. You should take it into account. The big breakthrough came with the rise to stardom in the first two decades of entertainer 20th century, playwright and composer George Cohan, who, Stempel claims, Americanized musical comedy in a way that put a lasting stamp on the national consciousness.

Audience Members pelted him with eggs, apples, potatoes and a bottle of asafoetida in what Stempel plausibly argues was a class based protest against highbrow theatre.

This challenge against classicism literally and metaphorically created space for musical most adaptations popular American plays of the 19th century, which were far more to the taste of most of theatregoers. He joined the Peace Corps in those idealistic ‘post Kennedy’ years and followed a contingent of volunteers to La Serena, Chile, where he assisted the orchestra Universidad director de Chile before taking over the post himself. New York, he studied philosophy at the Albert Ludwig University in Freiburg, Germany before pursuing a PhD in musical composition at Pennsylvania University, just after graduating with a bachelor’s degree in philosophy and classical languages and civilisation from ueens College.

Larry Stempel is associate professor of music at Fordham University. He delights in truly gracious dining and is known for threatening students with impromptu vocal performances when they don’t respond to questions. Broadway musicals from 1960 onwards, to be brash, confident and cocky. This is where it starts getting very serious. While celebrating new transfusion ideas arriving from offBroadway, most clearly evident in James Rado, Gerome Ragni and Galt MacDermot’s Hair! Other passions include travelling and visiting old forts, He has sung in choruses of all kinds.

John Kander and Fred Ebb’s Cabaret, Stempel writes frankly and honestly in charting what he sees as the Broadway relative decline musical wards end of the 20th the end century. Far from it -and this is what makes Stempel’s work so intriguing.

Using a mixture of lively, colourful illustrations, musical analysis that is admirably comprehensible to the layman and valuable contextual insights, Stempel makes a strong case for the ways in which this musical is memorable for far more than its melodic signature tune, Ol’ Man River.

Money makes the world go round. Although, virtually, of course, it argues that the absolute opposite is true. British brand widely admired throughout the world would lose about 40 per cent of its funding. While I am confident that UK higher education will still be able to match the British resilience musical, it may be useful to reflect, with irony, on a famous line from Cabaret.

Arguably this best example emerging form was the musical hugely adaptation popular stage version of Harriet Beecher Stowe’s 1852 novel, Uncle Tom’s Cabin. In a precopyright era there was little she could do about this metamorphosis of her book into a partmelodrama, partmusical, although the prim Beecher Stowe objected to theatre on religious grounds. Showtime ends with a sense that the Brits have appropriated -in a not entirely unacceptable manner -a peculiarly American form of entertainment. Broadway musicals have failed to make a return, and in the 1980s the average musical originating in the US would take two to three years to produce a profit. In recounting this tale, but Stempel is clearly underwhelmed by their efforts, the explanation to the threat to US hegemony was the arrival ‘megamusical’ and rock opera from Britain. Stempel recounts, eventually even she was drawn by live allure performance and went to see what her book had spawned, albeit well muffled in shade of the curtains the shade of box. The statistics are sobering.

Indeed, this template becomes a pleasurable leitmotif for most of the book, which seeks to demonstrate Broadway evolution through particularly influential shows and personalities.

None were more transformative than Rodgers team and Hammerstein, whose nine smash hits between 1942 and 1960 cemented the transition on Broadway from musical comedy to musical theatre. None were more transformative than Rodgers team and Hammerstein, whose nine smash hits between 1942 and 1960 cemented the transition on Broadway from musical comedy to musical theatre. Indeed, this template becomes a pleasurable leitmotif for quite a bit of the book, which seeks to demonstrate Broadway evolution through particularly influential shows and personalities.