The Musical Theatre Codex lists solos, duets, and ensemble pieces from 178 musical theatre scores dated 1925 to current Broadway productions. Songs have been assigned one of nine character types defined by The Musical Theatre Codex Theory of Theatrical Archetypes.

The Musical Theatre Codex lists solos, duets, and ensemble pieces from 178 musical theatre scores dated 1925 to current Broadway productions. Songs have been assigned one of nine character types defined by The Musical Theatre Codex Theory of Theatrical Archetypes.

The Musical Theatre Codex lists solos, duets, and ensemble pieces from 178 musical theatre scores dated 1925 to current Broadway productions. Songs have been assigned one of nine character types defined by The Musical Theatre Codex Theory of Theatrical Archetypes.

The Musical Theatre Codex lists solos, duets, and ensemble pieces from 178 musical theatre scores dated 1925 to current Broadway productions. Songs have been assigned one of nine character types defined by The Musical Theatre Codex Theory of Theatrical Archetypes.

The Musical Theatre Codex lists solos, duets, and ensemble pieces from 178 musical theatre scores dated 1925 to current Broadway productions. Songs have been assigned one of nine character types defined by The Musical Theatre Codex Theory of Theatrical Archetypes.

Le Mariage de la Grosse Cathos, a short ballet performed at the court of Louis XIV, is of major importance to the study of French Baroque dance. This facsimile reproduction of the entire manuscript is accompanied by a comprehensive study of the work itself and the context in which it was created and performed. Dated 1688, it provides a wealth of new and detailed information on numerous aspects of theatrical dance. It differs from the known choreographic sources in many respects, the two most important being the completeness of all its components--choreography, music, and text--and the use of a previously unknown dance notation system.

The experience of music performance is always far more than the sum of its sounds, and evidence for playing and singing techniques is not only inscribed in music notation but can also be found in many other types of primary source materials. This volume of essays presents a cross-section of new research on performance issues in music of the Middle Ages and Renaissance. The subject is approached from a broad perspective, drawing on areas such as dance history, art history, music iconography and performance traditions from beyond Western Europe. In doing so, the volume continues some of the many lines of inquiry pursued by its dedicatee, Timothy J. McGee, over a lifetime of scholarship devoted to practical questions of playing and singing early music. Expanding the bases of inquiry to include various social, political, historical or aesthetic backgrounds both broadens our knowledge of the issues pertinent to early music performance and informs our understanding of other cultural activities within which music played an important role. The book is divided into two parts: 'Viewing the Evidence' in which visually based information is used to address particular questions of music performance; and 'Reconsidering Contexts' in which diplomatic, commercial and cultural connections to specific repertories or compositions are considered in detail. This book will be of value not only to specialists in early music but to all scholars of the Middle Ages and Renaissance whose interests intersect with the visual, aural and social aspects of music performance.

This book brings a new perspective to secular music sources from the Middle Ages and early modernity by viewing them as media communication tools, whose particular features shape the meaning of their contents. Ranging from the eleventh to seventeenth centuries, and across countries and genres, the chapters offer innovative insights into the historical relationship between music and its presentation in a wide variety of media. The lens of media enables contributors to expand music history beyond notated music manuscripts and instruments to include images, furniture, luxury items, and other objects, and to address uniquely visual and material aspects of music sources in books and literature. Drawing together an international group of contributors, the volume pays close attention to the medial and material dimensions of musical sources, considering them as multifaceted objects that not only contain but also determine the nature of the music they transmit. Transforming our understanding of musical media, this volume will be of interest to scholars of musicology, art history, and medieval and early modern cultures.

Enables the less well-known aspects of the Codex Buranus to receive greater scrutiny, and bring new perspectives to bear on the more thoroughly explored parts of the manuscript. Making accessible existing discourse and encouraging fresh debates on the codex, the essays advocate fresh modes of engagement with its contents, contexts, and composition.