Bibliography for Music, Theatre and Performance - (DRA020N233S) BETA

Alston, Joshua. 2012. ‘NBC’s Smash Can Be the next Glee – by Not Being the next Glee : Guardian TV and Radio Blog’.

Anon. 1994. ‘The Sondheim Review’. International Bibliography of Theatre&Dance with Full Text.

Anon. 2006a. ‘Buffy the Vampire Slayer: Season 6’.

Anon. 2006b. ‘Phantom of the Opera: Behind the Mask’.

Anon. 2008. ‘The Stephen Sondheim Collection’.

Anon. 2012. ‘Glee: Season 3’.

Anon. n.d.-a. ‘Glee - Season 1 [DVD]’.

Anon. n.d.-b. ‘Glee - Season 2 [DVD]’.

Anon. n.d.-c. ‘Glee - Season 4 [DVD]’.

Anon. n.d.-d. ‘Smash - Season 1 [DVD]’.

Attenborough, Richard and Dante, Nicholas. 2008. ‘A Chorus Line’.

Atypon Systems. n.d. ‘Studies in Musical Theatre’. Atypon Link.

Auslander, Philip. 2004. ‘Performance Analysis and Popular Music: A Manifesto’. Contemporary Theatre Review 14(1):1–13. doi: 10.1080/1026716032000128674.

Auslander, Philip. 2006. Performing Glam Rock: Gender and Theatricality in Popular Music. Ann Arbor, [Mich.]: University of Michigan Press.

Banfield, S. 1996. ‘Company’. Pp. 147–76 in Sondheim’s Broadway musicals. Vol. The Michigan American music series. Ann Arbor, Mich: University of Michigan Press.

Bannister, Matthew and ebrary, Inc. 2006. White Boys, White Noise: Masculinities and 1980s Indie Guitar Rock. Vol. Ashgate popular and folk music series. Aldershot, England: Ashgate.

Bennett, Andy. 2004. Remembering Woodstock. Aldershot: Ashgate.

Brecht, Bertolt and Willett, John. 1974. Brecht on Theatre: The Development of an Aesthetic. London: Eyre Methuen.

Burger, A. 2010. ‘Wicked and Wonderful Witches : Narrative and Gender Negotiations from The Wizard of Oz to Wicked’. Pp. 123–32 in Beyond adaptation: essays on radical transformations of original works. Jefferson, N.C.: McFarland & Co.

Cohen, Sara. 2007. Decline, Renewal and the City in Popular Music Culture: Beyond the Beatles. Aldershot: Ashgate.

Collins, Karen. 2008. From Pac-Man to Pop Music: Interactive Audio in Games and New Media. Aldershot: Ashgate.

Del Deo, Adam, and James D. Stern. 2008. ‘Every Little Step: The Journey of “A Chorus Line”’.

Draper, Natalie. 2010. ‘Concept Meets Narrative in Sondheim’s “Company”: Metadrama as a Method of Analysis’. Studies in Musical Theatre 4(2):171–83. doi: 10.1386/smt.4.2.171_1.

Ellis, Sarah, T. 2011. ‘“No Day but Today”: Queer Temporality in Rent’. Studies in Musical Theatre 5(2):195–207. doi: 10.1386/smt.5.2.195_1.

Everett, William A., and Paul R. Laird, eds. n.d.-a. ‘From Hair to Rent: Is €˜rockâ€^TM a Four-Letter Word on Broadway?’ Pp. 235–49 in The Cambridge companion to the musical. [Cambridge, U.K.]: Cambridge University Press.

Everett, William A., and Paul R. Laird, eds. n.d.-b. ‘The Creation of a Broadway Musical: Stephen Schwartz, Winnie Holzman, and Wicked’. Pp. 340–52 in The Cambridge companion to the musical. [Cambridge, U.K.]: Cambridge University Press.

Fetterman, William. 1997. John Cage’s Theatre Pieces. Amsterdam, Netherlands: Harwood Academic Publishers.

Fouz-Hernandez, Santiago. 2004. Madonna’s Drowned Worlds. Aldershot: Ashgate Publishing.

Garland, Judy, Baum, L. Frank, and Fleming, Victor. 2001. ‘The Wizard of Oz’.

Gelles, Barrie. 2011. ‘Glee and the “Ghosting” of the Musical Theatre Canon’. Popular Entertainment Studies 2(2):89–111.

Greif, Michael and Warren, Michael John. 2009. ‘Rent’.

Hawkins, Stan. 2002. Settling the Pop Score: Pop Texts and Identity Politics. Vol. Ashgate popular and folk music series. Aldershot: Ashgate.

Inglis, Ian and ebrary, Inc. 2006. Performance and Popular Music: History, Place and Time. Vol. Ashgate popular and folk music series. Aldershot, Hants, England: Ashgate.

Isherwood, Charles. 2007. ‘On This Rock, Build a Future for Musicals’. Sec. AR-5.

Jones, Carys Wyn. 2008. The Rock Canon: Canonical Values in the Reception of Rock Albums. Vol. Ashgate popular and folk music series. Aldershot, Hants: Ashgate.

Laird, Paul, R. 2011. ‘“It Couldn’t Happen Here in Oz”: Wicked and the Creation of a “Critic-Proof” Musical’. Studies in Musical Theatre 5(1):35–47. doi: 10.1386/smt.5.1.35_1.

Lamb, Andrew. 2000. 150 Years of Popular Musical Theatre. New Haven [Conn.]: Yale University Press.

Lehman, Engel and Kissel, Howard. 2004. ‘Romance’. Pp. 106–19 in Words with music. New York: Roundhouse [distributor].

Leonard, Marion. 2007. Gender in the Music Industry: Rock, Discourse and Girl Power. Aldershot: Ashgate.

Lodge, Mary Jo. 2007. ‘Beyond “Jumping the Shark”: The New Television Musical’. Studies in Musical Theatre 1(3):293–305. doi: 10.1386/smt.1.3.293_1.

Lundskaer-Nielsen, Miranda. 2008. Directors and the New Musical Drama. Palgrave Macmillan.

McMillin, Scott. 2006. The Musical as Drama: A Study of the Principles and Conventions behind Musical Shows from Kern to Sondheim. Oxford: Princeton University Press.

McNulty, C. 2008. ‘“Spring Awakening” Is All about the Strife’.

Meizel, Katherine. 2009. ‘Making the Dream a Reality (Show): The Celebration of Failure in American Idol’. Popular Music and Society 32(4):475–88.

Mendes, Sam. 1997. ‘Company’. Performance.

Miller, Scott. 2007. Strike up the Band: A New History of Musical Theatre. Portsmouth, NH: Heinemann.

Moore, Allan F. 2001. Rock, the Primary Text: Developing a Musicology of Rock. Vol. Ashgate popular and folk music series. 2nd ed. Aldershot: Ashgate.

Moore, Tracey. 2006. ‘Teaching the Broadway Singing Style in the Era of American Idol’. Studies in Musical Theatre 1(1):85–95. doi: 10.1386/smt.1.1.85_1.

Peddie, Ian. 2006. The Resisting Muse. Aldershot: Ashgate.

Prece, Paul, and Everett William A. 2008. ‘The Megamusical: The Creation, Internationalisation and Impact of a Genre’. Pp. 250–69 in The Cambridge Companion to the Musical. Vol. Cambridge Companions to Music. Cambridge: Cambridge University Press.

Price, Lonny. 2011. ‘Sondheim: The Birthday Concert: The Birthday Concert’.

Rapaport, Pola and Held, Wolfgang. 2007. ‘Hair: Let the Sun Shine in : The Musical That Transformed a Generation’.

Rebellato, Dan. 2011. ‘Does the Mega-Musical Boom Mean Theatre’s Bust?: Guardian Theatre Blog’.

Reising, Russell. 2006. Speak To Me. Aldershot: Ashgate.

Siropoulos, Vagelis. 2010a. ‘Cats, Postdramatic Blockbuster Aesthetics and the Triumph of the Megamusical’. Image & Narrative 11(3):128–45.

Siropoulos, Vagelis. 2010b. ‘The Bohemian Iconoclast and the Corporate Giant: Julie Taymor’s Staging of Disney’s The Lion King, or The Portrait of the Avant-Garde Artist as a Corporate Employee’. Gramma: Journal of Theory and Criticism 10:137–50.

Siropoulos, Vagelis. 2011. ‘Megamusicals, Spectacle and the Postdramatic Aesthetics of Late Capitalism’. Studies in Musical Theatre 5(1):13–34. doi: 10.1386/smt.5.1.13_1.

Sondheim, Stephen and Burton, Tim. 2008. ‘Sweeney Todd: The Demon Barber of Fleet Street’.

Sondheim, Stephen, and John Doyle. 2007. ‘Company: A Musical Comedy’.

Sondheim, Stephen and Furth, George. 1996. Company. London: Nick Hern.

Sternfeld, Jessica. 2006. ‘“To Love Another Person Is to See the Face of God” Les Misérables’. Pp. 175–225 in The megamusical. Vol. Profiles in popular music. Bloomington: Indiana University Press.

Sternfeld, Jessica. 2007. The Megamusical. Bloomington, Ind: Indiana University Press.

Swayne, Steve and ebrary, Inc. 2007. How Sondheim Found His Sound. 1st ed. Ann Arbor [Mich.]: University of Michigan Press.

Tate, Joseph. 2005. Music and Art of Radiohead. Aldershot: Ashgate.

Vandevender, Bryan M. 2009. ‘A Substitute for Love: The Performance of Sex in “Spring Awakening”’. Studies in Musical Theatre 3(3):293–302. doi: 10.1386/smt.3.3.293/1.

Whedon, Joss. 2002. Once More with Feeling: Buffy the Vampire Slayer Script Book. Vol. Buffy the Vampire Slayer. London: Pocket.

Whiteley, Sheila, Bennett, Andy, and Hawkins, Stan. 2004. Music, Space and Place: Popular Music and Cultural Identity. Vol. Ashgate popular and folk music series. Aldershot: Ashgate.

Wolf, Stacy. 2011. ‘It’s All about Popular : Wicked Divas and Internet Girl Fans’. Pp. 219–36 in Changed for good: a feminist history of the Broadway musical. New York: Oxford University Press.

Wolf, Stacy Ellen. 2008. ‘“Defying Gravity”: Queer Conventions in the Musical Wicked’. Theatre Journal 60(1):1–21. doi: 10.1353/tj.2008.0075.

Woll, Allen. 1989. Black Musical Theatre: From Coontown to Dreamgirls. Baton Rouge: Louisiana State University Press.

Wollman, Elizabeth. 2010. The Theater Will Rock: A History of the Rock Musical, from Hair to Hedwig. Ann Arbor, Mich: University of Michigan Press.

Wollman, Elizabeth and Sternfeld, Jessica. 2011. ‘Musical Theatre and the Almighty Dollar: What a Tangled Web They Weave’. Studies in Musical Theatre 5(1):3–12. doi: 10.1386/smt.5.1.3_2.

Young-Gerber, Christine. 2010. ‘“Attention Must Be Paid”, Cried the Balladeer: The Concept Musical Defined’. Studies in Musical Theatre 4(3):331–42. doi: 10.1386/smt.4.3.331_1.