How to Fix the State of the Musical Theatre

By Kendra Cherry

The article was an interesting little 1) e__amination of several writing teams revising works that have seen their days on 2) Broa__way (primarily Schmidt and Jones with 110 in the Shade; but also, historically, Kern and Hammerstein with Show Boat, Kander and Ebb with the most recent 3) re__ival of Cabaret, Stein, Schwartz and Strouse with Rags, and Sondheim with most of his 4) __anon). The 5) state__ent, given as the reason (excuse?) for the current obsession with revivals and "revivicals" is 6) __arring, arrogant, but most of all misleading and 7) inco__rect.

The real reason we're being presented almost exclusively with revivals, 1) ______, and adaptations of material from other forms is 2) _____ fear. The cost of mounting a 3) ______ on the 4) ______ is truly enormous, and a total loss is without doubt something to give the most oblivious accountant a 5) ______ of nightmares. And since there's no guaranteed success the closest thing to it is a repackaged 6) ________ in new form. So you take an old show and polish it and put it up. Or hire some name writers to revise it for 7) “________”.

But that's "head-in-the-sand" logic. Yes, 1) (on, by) occasion you'll get a modest success, or even 2) (less, more less) frequently a hit. More often, though, your chances of flopping are equal to those on 3) (an, a) new project. For every Chicago revival there are On the Town, Gentlemen Prefer Blondes, and One Mo' Time. For every The Producers you have Smile, Carrie, and Breakfast at Tiffany's. And for every Billy Joel (all right, that's 4) (forcing, forced), how about Roger Miller?) there are Frank Wildhorn, Jim Steinman, and Paul Simon. (This is not 5) (meant, meaning) to disparage any of these gentlemen or the shows mentioned; it is intended merely to point out the fact that 6) (little of, any) prior success they brought to the table was not enough to guarantee a successful run.)

Спеціальність: Музичне мистецтво

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From The Independent

19.01.2006

Categorization of music By Katherine Wilcox

A list of genres of music (including 1) s__b genres) can be found at List of music genres. However, there are a number of 2) criter__a with which one may 3) classif__ musical genres, including: the ArtPopularTraditional distinctions, regional and national 4) distin__tions. Art music is the musical expression of high culture.Art music primarily refers to classical music, including European classical music, or others listed at List of classical music styles (including non-European classical music), 5) conte__porary classical music (including Electronic art music, Experimental music and Minimalist music). Art music may also include certain forms of 6) J__zz (even though jazz is 7) primar__ly a form of popular music).

Popular music is the musical 1) ______________ of popular culture.The usual 2) ___________ of 3) "__________ music" is music belonging to any of a number of 4) _______styles that are 5) __________ to the general 6) _________.For a 7) ___________ introduction, see the work of Richard Middleton (e.g. Studying Popular Music 1998) and StarrWaterman American Popular Music (2004).

Traditional music is the musical expression of Traditional culture.Traditional music 1) (is, to be) the modern name for what used 2) (to be called, called) "Folk music". Before, the term "Folk music" included a lot of non-traditional material. The defining characteristics of traditional music 3) (are, were): oral transmission: the music is passed down, or 4) (learned, learning) through singing and listening and sometimes dancing cultural basis: the music 5) (derives, deriving) from and is part of the traditions 6) (of, for) a particular region or culture.

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From The Daily Express

15.03. 2008