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The development of song forms in the...

Wood, Graham.

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The development of song forms in the Broadway and Hollywood musicals of Richard Rodgers, 1919--1943.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	The development of song forms in the Broadway and Hollywood musicals of Richard Rodgers, 1919--1943./
作者:	Wood, Graham.
面頁冊數:	272 p.
附註:	Source: Dissertation Abstracts International, Volume: 60-12, Section: A, page: 4247.
Contained By:	Dissertation Abstracts International60-12A.
標題:	Music. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9954786
ISBN:	9780599576629

The development of song forms in the Broadway and Hollywood musicals of Richard Rodgers, 1919--1943.
Wood, Graham.

The development of song forms in the Broadway and Hollywood musicals of Richard Rodgers, 1919--1943. - 272 p.

Source: Dissertation Abstracts International, Volume: 60-12, Section: A, page: 4247.

Thesis (Ph.D.)--University of Minnesota, 2000.

This item must not be sold to any third party vendors.

The thesis examines the song forms in Richard Rodgers's Broadway and Hollywood musicals from 1919 to 1943---up to and including the songs written for Oklahoma! The thesis combines musical, textual and iconographical analysis with genre theory in order to reveal how the construction of songs, and in particular their chorus patterns, function in larger dramatic-narrative frameworks and also in broader cultural scenarios.

ISBN: 9780599576629Subjects--Topical Terms:

516178
Music.

The development of song forms in the Broadway and Hollywood musicals of Richard Rodgers, 1919--1943.
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245 1 4 $a The development of song forms in the Broadway and Hollywood musicals of Richard Rodgers, 1919--1943.
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500 $a Source: Dissertation Abstracts International, Volume: 60-12, Section: A, page: 4247.
500 $a Adviser: James A. Hepokoski.
502 $a Thesis (Ph.D.)--University of Minnesota, 2000.
506 $a This item must not be sold to any third party vendors.
506 $a This item must not be added to any third party search indexes.
520 $a The thesis examines the song forms in Richard Rodgers's Broadway and Hollywood musicals from 1919 to 1943---up to and including the songs written for Oklahoma! The thesis combines musical, textual and iconographical analysis with genre theory in order to reveal how the construction of songs, and in particular their chorus patterns, function in larger dramatic-narrative frameworks and also in broader cultural scenarios.
520 $a Over 300 songs by Rodgers have been examined. Typical features of the composer's instrumental introductions, verses and choruses are discussed: choruses receive an extended treatment. Rodgers uses two main chorus patterns during this time period: the "parallel period" chorus and the "lyric binary" chorus. A third pattern, the "hybrid" chorus, combines features of the other two, but remains distinctly different. Five types of adaptation to the normative chorus formats are also explored: repetition, expansion, embedded choruses, double choruses, and "macro" choruses.
520 $a Specific songs from four shows---Dearest Enemy (1925), A Connecticut Yankee (1927), Babes in Arms (1937) and The Boys From Syracuse (1938)---are examined in detail alongside their narrative frameworks. These examples show how Rodgers uses the unique musical features of different chorus patterns in combination with other musical, textual and narrative elements to create specific dramatic effects. Specifically, parallel period choruses are associated with formal expressions of feeling, separation, distance, nostalgia or otherwise backwards-looking gestures. Lyric binary choruses, on the other hand, tend to be associated with the direct expression of youthful love. The final chapter explores a contextual framework for Oklahoma! and relates the songs to regionalist iconography and to a mythic-historical construction of American national identity.
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