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IX. THE AMERICAN MUSICAL
MUSICAL THEATER
Objectives
The elements of the American musical are explained, and its development from the operetta, vaudeville,
and revue described. The golden era of American musical theater is defined as 1920 to 1960, and many
leading composers of the time are mentioned. The musical after 1960, especially the work of Andrew
Lloyd Webber and Stephen Sondheim, is briefly discussed.
Suggestions
1. The text states “the musical is one of the most important American contributions to twentieth–
century popular culture.” One might question the word “popular” in the statement, since musicals are
being performed by trained singers in opera houses as well as on Broadway. However one approaches the
genre, it is important and deserves recognition. This section discusses the sources of the musical, its
golden era, and new concepts emerging since 1960. The question then of what to cover in the time
available must depend on the experiences of the students. Hopefully, many of them will have seen film
versions of musicals, in which case the elements and history can be covered quickly. If it turns out that
many students have never seen a musical, live or on film, more time should be allowed.
2. The best way to understand the musical is to see one. Give students an opportunity to research
a musical in preparation of a trip to the theater (Who was the composer? lyricist? director? When was it
written? first performed? etc.). If there are no live performances available, one can use the research
project in preparing for a video performance. My Fair Lady, An American in Paris, Brigadoon, Carousel,
Fiddler on the Roof, Grease, Jesus Christ Superstar, Man of La Mancha, The Music Man, Oklahoma!,
Show Boat, The Sound of Music, South Pacific, Tommy, West Side Story, and The Wiz are only some of
the many musicals available.
3. If students are already knowledgeable about musicals and have had many pleasurable
experiences, discuss and contrast a typical musical of the 1920s, 30s, or 40s with a current show. Is there
a plot? How do the music, dancing, and social mores differ?
4. Stephen Sondheim has emerged as one of the most important figures in musical theater. All of
his shows have been recorded, several have been performed on PBS. All are significant works that should
be discussed with excerpts.
Questions and Topics
1. Discuss the sources of the American musical.
2. Outline the typical form of a musical comedy song.
3. Describe the differences between operetta, vaudeville, and the revue.
4. The book musical compared to the concept musical.
5. The innovations of Stephen Sondheim.
6. Trace the emergence of ballet in the American musical with special consideration of the works
of Agnes De Mille and George Balanchine.
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LEONARD BERNSTEIN
Objectives
Bernstein’s career is traced from his birth and education to his spectacular debut with the New York
Philharmonic. His many compositions are discussed, and West Side Story is examined in detail. The text
includes a discussion of both the energetic ensemble America and the ensemble Tonight from that work.
Suggestions
1. Bernstein has been mentioned several times in earlier sections of this manual. He truly, as the
text states, “accomplished the difficult feat of bridging the worlds of ‘serious’ and popular music.” To
document that statement, one should present excerpts from one of his symphonies or his Chichester
Psalms as well as his more famous ballets and musicals. The overture to Candide has become a staple at
concerts, so it would be appropriate to present some arias, or even a complete scene, from that work to
illustrate his fusion of classical and popular elements. “Glitter and Be Gay,” with its use of melodies from
the overture, would be a logical choice.
2. The text concentrates on West Side Story as one of the most significant of the American
musicals. Video of this musical is available, and if the students are not already familiar with the work, it is
suggested that one or more scenes would be the best way to present the musical. Some discussion of
Shakespeare’s original Romeo and Juliet may be in order, especially if the students read the play in high
school. A recording of the ensemble America is also included. In discussing the work, consider: in what
way was West Side Story a product of the 1960s? Does the show still have relevance today? How does a
performance by opera singers differ from the original cast performers? Which do the students prefer, and
why? How do we react to trained singers in a “Broadway musical”?
Questions and Topics
1. Discuss the contributions of Leonard Bernstein to American music.
2. Discuss the contributions of Jerome Robbins to ballet in the American musical.
3. Outline the plot and interrelationships, musical and dramatic, found in West Side Story.
4. West Side Story and Romeo and Juliet: similarities and differences.
5. Candide: opera, operetta, or Broadway musical?
MUSIC IN FILM
Objectives
The early history of film music is discussed beginning with reference to the silent film era. There is a
discussion on the many functions and diverse styles of film music, including a brief reference to the use
of “classical” music in film. There is good reference to the production of film music–the process of
composing music for film. Also of interest is the reference to “leitmotifs” and the close connection
between film music and visual image.
Suggestions
1. Consider the connection between music, mood and image. The students could have a good
discussion concerning some of their favorite film scenes and how the music utilized in the particular
scene heightens or impacts the emotional response.
2. Draw upon the text’s reference to “leitmotifs” and see how many the students can recall or
identify. Perhaps reference to Wagner’s Ring Cycle and his use of “leitmotifs” might be of interest.
3. The use of classical music in film might be a good topic for discussion. There are numerous
films to choose from, The Pianist (Chopin), Amadeus (Mozart), and Immortal Beloved (Beethoven) might
be some good choices to start with.
Questions and Topics
1. Silent film music
2. Disney’s Fantasia
3. Alfred Hitchock’s Vertigo.
4. The movie Sleeping With The Enemy and the use of Berlioz’ Symphonie Fantastique,
specifically the Dies Irae in the fifth movement
5. The music of John Williams