Thousands of shows have opened on Broadway. Why do we remember some and not others? The musical theatre repertory is not composed of titles popular in the theatre but by those with successful cast recordings, movie versions, or even illegal bootlegs on YouTube. The shows audiences know, and the texts and music they expect to hear when they attend a production, are defined by media consumed at home more than by memories of performances witnessed in the theatre. For example, author Doug Reside shows that it is no accident that the serious book musical with a fixed score developed in the 1940s - when commercially pressed and marketed record albums made it possible to record most of the score of a new musical in a fixed medium. And Hamilton, a musical with dense lyrics and revolutionary musical style, would not have been as easily accessible to world audiences if most hadn't already had the opportunity to learn the score by listening to free digital streams of the original cast recording. The technologies that made these media possible developed concurrently with and shaped the American musical as an art form. Reside uncovers how the affordances and limitations of these technologies established a repertory of titles that are most frequently performed and defined by the texts used in these performances. Fixing the Musical argues that the musicals we most remember are those which most effectively used their era's best recording and distribution technologies to document and share the work with those who would never see the original production on Broadway.

A practical and comprehensive text on instrument repairs that commonly challenge the music teacher.

"The musical theatre repertory is not composed of titles popular in the theatre but by those with successful cast recordings, movie versions, or even illegal bootlegs on YouTube. The shows audiences know, and the texts and music they expect to hear when they attend a production, are defined by media consumed at home more than by memories of performances witnessed in the theatre. The technologies that made these media possible developed concurrently with and shaped the American musical as an art form. At the turn of the 20th century photography and sound recording made it possible to capture the visual and aural elements of a particular production, and new printing technologies made scripts and sheet music faster and cheaper to produce. In the 20th century improvements in these technologies as well as the invention of video recording and the commercial internet made it possible to, in the works of the United States copyright law, "fix" new kinds of musicals in "tangible media." Fixing the Musical examines how the affordances and limitations of these technologies established a repertory of titles that are most frequently performed and defined the texts used in these performances"--

An empowering look at finding your voice, facing your fears, and standing up for what's right, from the author of Property of the Rebel Librarian. Charlotte Andrews is perfectly fine being quiet--in fact, she prefers it. When she doesn't speak, people can't make fun of her stutter. But when she witnesses bullying on the school bus and doesn't say anything, her silence comes between her and her best friend. As if that wasn't bad enough, her parents signed her up for musical theater. Charlotte doesn't want to speak onstage, but at least she doesn't stutter when she sings. Then, just as she starts to find her voice, the arts program is cut. Charlotte can't stay silent anymore. So she begins to write. Anonymous encouraging notes to her classmates. Letters to the school board to save the school musical. And an essay about the end of her best friendship--and her hope that she can still save it. Words could save Charlotte Andrews and everything she believes in . . . if she just believes in herself enough to speak up.

The ultimate guide shows guys how to fix all those ordinary things that breakevery day, which no one seems to do know what to do with.

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