Geoffrey Block
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Enchanted Evenings: The Broadway Musical from Show Boat to Sondheim
11 editions
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published
1997
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The Richard Rodgers Reader
9 editions
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published
2002
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Ives: Concord Sonata: Piano Sonata No. 2 (Cambridge Music Handbooks)
6 editions
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published
1996
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Charles Ives and the Classical Tradition
by
3 editions
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published
1996
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Guide to the Season Plays 2015-2016
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Richard Rodgers (Yale Broadway Masters Series)
2 editions
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published
2003
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Experiencing Beethoven: A Listener's Companion
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Charles Ives: A Bio-Bibliography
3 editions
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published
1988
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Schubert's Reputation from His Time to Ours (Monographs in Musicology)
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American Musical Theater: Grove Music Essentials
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“The former are given musical characteristics loosely associated with music of the Italian Renaissance. Bianca and her suitors are given an a cappella pseudo-madrigal in “Tom, Dick or Harry,” the bluesy “Why Can’t You Behave?” is transformed into a Renaissance dance (the pavane), and several of the Shrew songs display the long-short-short figure () characteristic of the sixteenth-century Italian canzona”
― Enchanted Evenings: The Broadway Musical from 'Show Boat' to Sondheim and Lloyd Webber
― Enchanted Evenings: The Broadway Musical from 'Show Boat' to Sondheim and Lloyd Webber
“Although the degree to which Kiss Me, Kate employs the major-minor juxtapositions is perhaps unprecedented in a Porter show, the roots of this idea can be found in Porter’s pre–Rodgers and Hammerstein musical Anything Goes (and many other songs;”
― Enchanted Evenings: The Broadway Musical from 'Show Boat' to Sondheim and Lloyd Webber
― Enchanted Evenings: The Broadway Musical from 'Show Boat' to Sondheim and Lloyd Webber
“the extant manuscript evidence reveals that from the time he began work on Kiss Me, Kate Porter was greatly concerned with creating a musical that integrated music with the book.”
― Enchanted Evenings: The Broadway Musical from 'Show Boat' to Sondheim and Lloyd Webber
― Enchanted Evenings: The Broadway Musical from 'Show Boat' to Sondheim and Lloyd Webber
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