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Musical Theatre. Minstrelsy -parodies performed by white entertainers -comes from America and England -first appears on plantations Dixon and Rice (1820’s and 1830’s) -well known for blackface song and dance Two types of impersonations being used in early minstrelsy:

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musical theatre
Musical Theatre

Minstrelsy

-parodies performed by white entertainers

-comes from America and England

-first appears on plantations

Dixon and Rice (1820’s and 1830’s)

-well known for blackface song and dance

Two types of impersonations being used in early minstrelsy:

-Gumbo Chaff or Jim Crow (plantation or riverboat hand, joyous and uncouth)

-Zip Coon or Dandy Jim (northern, elegant clothing and manners)

slide2
1840

Fully developed minstrel show, with following characteristics:

-variety show (songs, dances, jokes, speeches, skits

-four performers – what do they play?

banjo and fiddle in middle; end-men play tambourine and bones

dan emmet
Dan Emmet
  • One of the original Virginia Minstrels (first group to use the classic instrumentation)
  • He wrote “Dixie” in 1859
  • De Boatmen’s Dance

-use of dialect

-repetition of short motives/melodies

-clicking of bones

1850 s and 60 s
1850’s and 60’s
  • Minstrelsy grows until the Civil War,

Loses its original flavor and character after the war

civil war to 1900
Civil War to 1900
  • Four factors contributing to the growth of Musical Theatre
  • #1 – the New York stage in the 1860’s was a hot spot of activity
  • #2 – Vaudeville = clean, family entertainment – a succession of individual acts
  • #3 – Importations – the earlier British Invasion (Gilbert and Sullivan, H.M.S. Pinafore and Pirates of Penzance)
  • #4 – Americanization – happens from 1900-1920
george m cohan
George M. Cohan
  • Showman, author, composer, director
  • Brought new vitality to the theatre
  • Yankee Doodle Boy
    • Fast pace, bold style
    • Quotes from popular tunes
    • Mostly in a major key
    • Simple syncopation (not as elaborate as jazz)
    • http://www.youtube.com/watch?v=wlPR97oYOBA
the musical in its maturity
The Musical in its Maturity
  • Showboat (1927)

-music by Jerome Kern, lyrics by Oscar Hammerstein

-“Widening and deepening of the dramatic dimensions of the musical”

-Realistic and sympathetic portrayal of African Americans on the stage

-Music becomes more important – unity in the score

-Use of Leitmotifs