1776 and Hamilton: Comparing “Founding” Histories in Musical Theatre by Anne Melissa Potter

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LA PRÉFIGURATION DU SPECTACLE D’OPÉRA by Diana TODEA

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UNE PERSPECTIVE SÉMANTIQUE INTÉGRALISTE SUR L’INTERFÉRENCE TEXTE-MUSIQUE DANS LE CAS DU THÉÂTRE MUSICAL by Mirona BENCE-MUK

“… The present article focuses its investigation on the place of direct and private interference of the literary text with mu100sic, being consequently dedicated to the “semantic-integralist” analysis reguarding a complete cultural-artistic object which is the musical theatre. Our approach follows the same evolution of the metaphorical dynamics, identified initially in the libretto Così fan tutte, outlining a parallel with the metaphoric dynamics of the musical discourse, by using the same strategies: dia-endo-epi-phorics. …”
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ASPECTS OF THE VOCAL-SYMPHONIC GENRE by Lucian GHIŞA

“…It is to be found in several instances: the musical theatre – opera; without means of theatrical expression – oratorio, and cantata. …”
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Immigration, différence et intégration dans The Consul et The Saint of Bleecker Street de Gian Carlo Menotti by Walter Zidaric

“…Composer, librettist and stage director Gian Carlo Menotti has changed the American musical theatre by accepting to face burning questions related to his times, but which are at the same time universal. …”
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Studying Problems of Art Interpretation in Music at University of Culture by S. Yu. Lysenko

“…It became clear that traditional Art studies using conventional conceptual system are not ready for up-to-date reading of the classical heritage and there are no clear criteria for assessment of the topical artistic solutions for classics, especially in musical theatre. The range of interpreters’ methods are rather wide – from authentic reconstructions to free stage variations and games with author’s meanings. …”
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Gender disparities in music education and music-making amongst the Swedish adult population by Sam de Boise

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Multiselfing in Music Education by Radio Cremata

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Jane Eyre de Michael Berkeley et de David Malouf : La transposition opératique d’un grand classique de la littérature anglaise by Jean-Philippe Heberlé

“…Premiered on June 30, 2000 by Music Theatre Wales at the Cheltenham International Festival of Music, this opera is based on the novel by Charlotte Brontë and the libretto is written by the Australian poet, novelist, playwright and librettist, David Malouf. …”
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ESSENTIAL PRINCIPLES OF VIOLIN INTERPRETATION by Cătălina GUŢANU

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APPROACHES TO THE AMPLE-FORM WORKS IN MUSIC SCHOOLS by Cătălina GUŢANU

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