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001 ocm67922073;

003 OCoLC;

005 20141211192746.0;

008 060421s2006 inug b s001 0 eng ;

010 a| 2006013537;

020 a| 0253347939 (cloth);

020 a| 9780253347930;

035 a| (Sirsi) o67922073;

035 a| (OCoLC)67922073;

042 a| pcc;

049 a| EREM;

050 00 a| ML2054b| .S74 2006;

082 00 a| 792.62| 22;

100 1 a| Sternfeld, Jessica,d| 1971-=| ^A703935;

245 14 a| The megamusical /c| Jessica Sternfeld.;

300 a| xi, 441 pages :b| music ;c| 25 cm.;

336 a| text2| rdacontent;

337 a| unmediated2| rdamedia;

338 a| volume2| rdacarrier;

490 1 a| Profiles in popular music;

504 a| Includes bibliographical references (pages 429-434) and index.;

505 0 a| "Why'd you choose such a backward time and such a strange land?": Jesus Christ Superstar -- "Humming the scenery": the megamusical ascending -- "Well, the theatre is certainly not what it was": Cats -- "To love another person is to see the face of God": Les misérables -- "The angel of music sings songs in my head": The phantom of the Opera -- "A model of decorum and tranquility": other megamusicals in the 1980s -- "New music": the megamusical in the 1990s -- "Everything is show biz": the megamusical and Broadway in the twenty-first century.;

520 a| A megamusical is an epic, dramatic show featuring recurring melodies in a sung-through score; huge, impressive sets; and grand ideas. These qualities are accompanied by intensive marketing campaigns, unprecedented international financial success, and a marked disjunction between critical reaction and audience reception. Audiences adore megamusicals; they flock to see them when they open, and return again and again, helping long-lived shows to become semi-permanent tourist attractions. Yet generally speaking, critics either dismiss megamusicals as superficial entertainment, or rail against them as offensively simple-minded money-making scams. This audience/critic division lies at the heart of this book, and this long-awaited study of some of the most popular megamusicals is an important contribution to knowledge of American musical culture. The author discusses the history of the megamusical, examining both its internal, performative qualities and its external, market reception to reveal why it is so popular. She concentrates on Lloyd Webber's Cats and The Phantom of the Opera, the two longest-running musicals on Broadway, and Schoenberg and Boublil's Les Misérables, the most popular and internationally successful piece of music theater of all time. Each of these musicals receives in-depth treatment, including an examination of how they were created and received, as well as an analysis of their scores and staging. She also interprets several other megamusicals of the 1980s and 1990s, with an eye toward their competition and influence on other musical theater genres.;

650 0 a| Musicalsx| History and criticism.=| ^A285350;

830 0 a| Profiles in popular music.=| ^A585492;

994 a| C0b| ERE;

596 a| 3;

998 a| 1063829;

999 a| ML2054 .S74 2006w| LCc| 1i| 30372014170150d| 7/16/2014e| 6/1/2013f| 4/9/2024g| 3l| MSTm| JMUSICn| 8p| $25.16r| Ys| Yt| MGESBKu| 12/18/2006x| BOOKz| MCIRCo| .STAFF. enhanced 1/26/23 -jjab;

The megamusical / Jessica Sternfeld.

Author/creator	Sternfeld, Jessica, 1971-
Format	Book
Publication Info	Bloomington : Indiana University Press, ©2006.
Description	xi, 441 pages : music ; 25 cm.
Subjects	Musicals--History and criticism.

Series	Profiles in popular music Profiles in popular music. ^A585492
Contents	"Why'd you choose such a backward time and such a strange land?": Jesus Christ Superstar -- "Humming the scenery": the megamusical ascending -- "Well, the theatre is certainly not what it was": Cats -- "To love another person is to see the face of God": Les misérables -- "The angel of music sings songs in my head": The phantom of the Opera -- "A model of decorum and tranquility": other megamusicals in the 1980s -- "New music": the megamusical in the 1990s -- "Everything is show biz": the megamusical and Broadway in the twenty-first century.
Abstract	A megamusical is an epic, dramatic show featuring recurring melodies in a sung-through score; huge, impressive sets; and grand ideas. These qualities are accompanied by intensive marketing campaigns, unprecedented international financial success, and a marked disjunction between critical reaction and audience reception. Audiences adore megamusicals; they flock to see them when they open, and return again and again, helping long-lived shows to become semi-permanent tourist attractions. Yet generally speaking, critics either dismiss megamusicals as superficial entertainment, or rail against them as offensively simple-minded money-making scams. This audience/critic division lies at the heart of this book, and this long-awaited study of some of the most popular megamusicals is an important contribution to knowledge of American musical culture. The author discusses the history of the megamusical, examining both its internal, performative qualities and its external, market reception to reveal why it is so popular. She concentrates on Lloyd Webber's Cats and The Phantom of the Opera, the two longest-running musicals on Broadway, and Schoenberg and Boublil's Les Misérables, the most popular and internationally successful piece of music theater of all time. Each of these musicals receives in-depth treatment, including an examination of how they were created and received, as well as an analysis of their scores and staging. She also interprets several other megamusicals of the 1980s and 1990s, with an eye toward their competition and influence on other musical theater genres.
Bibliography note	Includes bibliographical references (pages 429-434) and index.
LCCN	2006013537
ISBN	0253347939 (cloth)
ISBN	9780253347930

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Music	Music Stacks	ML2054 .S74 2006	✔ Available	Place Hold

The megamusical / Jessica Sternfeld.

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