Table of Contents

Part I The Antecedents to the Genre of "Musical Theater"

1 The Birth of "Staged" Music

2 Developing Genres in the Eighteenth Century: Ballad Opera and Singspiel

3 Developing Genres in the Eighteenth Century: Opera Buffa and Dramma Giocoso

4 The Musical Stage in the American Colonies

Part II The Musical Stage in the Nineteenth Century

5 France and Spain in the Nineteenth Century

6 The Serious and the Not-so-Serious: Germany, Italy, and Austria in the Nineteenth Century

7 England in the Nineteenth Century: Gilbert and Sullivan

8 The United States in the Early Nineteenth Century

9 New American Genres of the Later Nineteenth Century

10 Operetta in America, 1880–1903

Part III Diverging Paths in the Twentieth Century

11 The Continuing Dominance of Operetta

12 Challenges to Operetta

13 The Princess Shows

14 Increasing Drama on the Stage

15 Musical Theater of the Lighter Kind

Part IV Beginnings of a Golden Age: Synthesis of Style and Substance

16 Great Partnerships of the Early Book Musical: Kern and Hammerstein

17 Great Partnerships of the Early Book Musical: Rodgers and Hart

18 Great Partnerships of the Early Book Musical: The Gershwins (1)

19 Great Partnerships of the Early Book Musical: The Gershwins (2)

20 Great Solo Acts: Irving Berlin

21 Great Solo Acts: Cole Porter and Other Efforts in the 1930s

Part V A Greater Maturity

22 New Achievements from Familiar Names: Rodgers and Hart, Irving Berlin

23 A Cole Porter Renaissance and the Rise of Recognition

24 Politics and Social Commentary

Part VI New Partnerships

25 Rodgers and Hammerstein: Oklahoma!

26 Rodgers and Hammerstein: Carousel and South Pacific

27 Rodgers and Hammerstein: The King and I and The Sound of Music

28 Lerner and Loewe

Part VII New Faces of the 1940s and 1950s

29 Leonard Bernstein

30 Jule Styne and Frank Loesser

31 Meredith Willson and Other Faces of the 1950s

Part VIII New Faces of the 1960s and 1970s

32 New Names in Lights in the 1960s

33 Sondheim in the 1960s: Flash in the Pan?

34 New Partnerships: Bock and Harnick

35 New Partnerships: Kander and Ebb

36 New Partnerships: Andrew Lloyd Webber and Tim Rice

37 Wunderkinder of the 1970s

38 Sondheim in the 1970s: The Endless Experiments

Part IX The Late Twentieth Century—and Beyond

39 Andrew Lloyd Webber Without Tim Rice: Cats and Starlight Express

40 The Luxuriant Lloyd Webber

41 The New Team in Town: Schönberg and Boublil

42 New Names, New Teams in the 1980s

43 Stephen Sondheim: Never a Formula

44 A Surge of "Soloists"

45 Team Efforts—The 1990s and Beyond

46 Whither Musical Theater?

About the Author

Alyson McLamore is Professor of Music History at Cal Poly San Luis Obispo, where she has been recognized with the university's Distinguished Teaching Award.