- Title Pages
- Introduction: What Is Music Theater?
- Chapter 1 The Voice
- Chapter 2 Where the Sound Comes From
- entr’acte i: Is there such a thing as progress in opera or music theater?
- Chapter 3 The Music
- Chapter 4 Cultural Narratives and Performance Institutions
- entr’acte ii: A woman’s earring, a diamond necklace, a knee, a yogi in meditation, drawing, a mahout looking after an elephant: the language of Kathakali
- Chapter 5 Text
- Chapter 6 Visual Strategies
- Chapter 7 Space
- entr’ acte iii: A theater of warm bodies?
- Chapter 8 The American Eccentrics
- Chapter 9 Music Theater as Musiktheater
- Chapter 10 From the Homeland: Teatro Musicale
- Chapter 11 Théâtre Musical
- Chapter 12 Music Theater in Northern Europe
- entr’acte iv: The art form that never happened
- Chapter 13 Downtown
- Chapter 14 Minimalism and Music Theater
- Chapter 15 The Show Must Go On
- Chapter 16 The Art of the In-Between
- Chapter 17 Extended Voice
- Chapter 18 New Media and Music Theater
- entr’acte v: “… and how did you like it?”
- Chapter 19 Toward a Theory of the New Music Theater
- Chapter 20 Notation versus Improvisation?
- Chapter 21 Popular or high art?
- Chapter 22 Is Anyone Listening?
- Appendix I A Quick Summary of the Modern History of Music Theater
- Appendix II Selected Reading
- Appendix III Some Festivals and Performance Institutions
- (p.13) Chapter 1 The Voice
- The New Music Theater
- Oxford University Press
This chapter discusses the close identification of language and music, song, and speech. It considers how singing styles and vocal techniques have evolved over the years with many new developments in the 20th and 21st centuries, many of them coming out of popular, folk, and experimental music; and the importance of the influence of the all-pervasive microphone (as “loudspeaker culture” edges out “acoustic culture”). It shows that non-operatic singing styles and the development of extended and experimental vocal techniques and styles are important features of new music theater.
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