UNIVERSITY OF CENTRAL FLORIDA
SEMINAR IN MUSIC HISTORY
"American Musical Theater"
MUH 6935 (Spring 2018)

Weekly Class Assignments

10 APR 18 (MTG 12)

  1. Friendly Reminder #1: Instructions for the Book Review assignment remain posted on the web site. Look at the comments on your first (graded) review in order to improve your second review (due Friday, 13 Apr 18).
  2. Friendly Reminder #2: Learning Modules (for avoiding plagiarism, etc.) remain available online only until 11:59 pm on Sunday, 15 Apr 18. Follow the links from the course web page. Remember, thre are absolutley no extensions for this assignment.
  3. Next week (17 April 2018) will be the last "discussion"-based meeting of the seminar. We will discuss the rise and use of rock and related styles on Broadway. To that end, do the following:
  4. Also for 17 April 18, each of you is to know one successful "rock" show from that era. Know the background and genesis of the show, its plot, primary musical numbers, and any distinctive features of the show. Use any sources of your own choosing. Your individual (chosen) shows are as follows:
  5. As with the previous week's assignments (Golden Era, 1945-65), think about how your chosen show adapts rock music (and related styles) to traditional musical theater tasks, and also how these new styles challenge traditional musical theater styles.
  6. Friendly Reminder #3: Times for the Oral Presentations on 24 April and 1 May are now posted on the web site.
  7. Friendly Reminder #4: Continue working on your major project, which is due on either 30 April (first group of presenters) or 2 May (second group of presenters).

3 APR 18 (MTG 12)

  1. With the end of the semester approaching faster than you might think, do check your personal calendars and align all course deadlines with your other activities. See the reminders below and the instructions posted on the course web site.
  2. Next week, we will discuss the two decades that follow Oklahoma! (1945-65). To that end read: Stempel, Chapters 9, "Musical Theater: The New Art," and 11, "The Great American Showshop." (Note that we are skipping Chapter 10).
  3. Additionally, each of you is to know one successful show from that era. Know the background and genesis of the show, its plot, primary musical numbers, and any distinctive features of the show. Use any sources of your own choosing. Your individual (chosen) shows are as follows:
  4. NB. Do know how to access streaming videos and audio as examples of your chosen show's style and traits.
  5. Beyond the basics noted above, think especially about how your chosen show exemplifies earlier musical theater genres and conventions. Also, think about why and how your chosen show reflected American values, current events (of the 1950s and 60s), and social issues of their day, which may have contributed to the show's commercial success.

    6. For future seminar meetings (chiefly 17 Apr 18) and ongoing projects.

  6. A specific reading for the week of 17 April 18 will be made in the near future.
  7. Also for 17 April 18, each of you is to know one successful show from that era. Know the background and genesis of the show, its plot, primary musical numbers, and any distinctive features of the show. Use any sources of your own choosing. Your individual (chosen) shows are as follows:
  8. As with the previous week's assignments, know the background, plot, musical numbers, etc. In particular think about how your chosen show adapts rock music (and related styles) to traditional musical theater tasks.
  9. Friendly Reminder #1: Times for the Oral Presentations are now posted on the web site.
  10. Friendly Reminder #2: Instructions for the Book Review assignment remain posted on the web site. Look at the comments on your first (now graded) review in order to improve your second review (due in about two weeks).
  11. Friendly Reminder #3: Learning Modules (for avoiding plagiarism, etc.) remain available online. Follow the links from the course web page.

27 MAR 18 (MTG 11)

  1. Friendly Reminder #1: The next phase of your major paper (meeting, outline or draft) is due by the end of March.
  2. Next week's seminar meeting (3 Apr 18) will conclude the discussion of songwriters and lyricists in the 1920s and 30s with Cole Porter's "Anything Goes" and "You're the Top." Know the lyrics of these two songs, and look especially at the topical references in each, i.e., try to identify or explain every name, object, etc., mentioned in the songs.
  3. Read Stempel, Chapter 8, "The Script Angle," in preparation for a discussion of Oklahoma!
  4. Know Rodgers & Hammerstein's Oklahoma! in detail, including its origins and composition, the plot, main characters, and musical numbers. Your options to accomplish this task include:
  5. REMINDER: The UCF Library copy of the pv score of Oklahoma! is available in my UCF Office mailbox. You may borrow the item informally for a brief period in order to copy your chosen number. Ask John Parker or any GTA w/ access to the mailroom for assistance. Please return the item ASAP for others to access.
  6. While you should be modestly familiar with the entire musical score of Oklahoma!, you are to be especially familiar with your chosen number from the show. In particular, know the song's placement (including reprises), lyrics, musical form, and drammatic purpose within the plot, especially as compared to how a similar number might have been used in a musical revue:
  7. [OPTIONAL, BUT RECOMMENDED] For information on the marketing and reception history of Oklahoma!, see:

    8. For future seminar meetings (chiefly 10 Apr 18), background, and ongoing projects.

  8. Looking ahead to the following week, begin reading Stempel, Chapter 9 on "Musical Theater: The New Art" Chapter 10 on "Opera, In Our Own Way."
  9. Look for a "successful" book musical from the late 1940s through the early 1960s that you might use for a discussion of such shows in that era.
  10. Friendly Reminder #2: Instructions for the Book Review assignment remain posted on the web site. Look at the comments on your first (now graded) review in order to improve your second review (due in mid-April).
  11. Friendly Reminder #3: Learning Modules (for avoiding plagiarism, etc.) remain available online. Follow the links from the course web page.

20 MAR 18 (MTG 10)

  1. Friendly Reminder #1: Your first book review is due this coming weekend.
  2. Friendly Reminder #2: Learning Modules (for avoiding plagiarism, etc.) are now available online. Follow the links from the course web page.
  3. Next week's seminar meeting (27 Mar 18) will begin the discussion of songwriters and lyricists in the 1920s and 20s with the Gershwins, Cole Porter and Rodgers & Hart.
  4. Make sure you have read Stempel, Chapter 7 on "Broadway Songbook."
  5. Continue listening to songs and shows (relevant to Stempel's Chapter 7) by the Gershwins, Cole Porter, and Rodgers & Hart.
  6. In examining the musical elements of various shows, begin looking for any of the following song types (as defined by Lehman Engel, Larry Stempel, and others):

    7. Ongoing assignments and background information

  7. For background over the next few weeks, read Geoffrey Block, "The Broadway Canon from Show Boat to West Side Story and the European Operatic Ideal, The Journal of Musicology 11, nr. 4 (August 1993): 525-544. [available in JSTOR]
  8. Friendly Reminder: The next phase of your major paper (meeting, outline or draft) must be completed by the end of March.
  9. For the seminar meeting in two weeks (3 April 18) begin reading Stempel, Chapters 8, "The Script Angle," and 9, "Musical Theater: The New Art"
  10. In preparation for a close discussion of Oklahoma!, learn that show's plot, song list, and other details of its history. If possible, listen to and/or watch a complete performance. There are multiple recordings available in the UCF Library.

13 MAR 18 (NO MEETING - Spring Break)

  1. ALERT!: The course web materials have been moved to a new server space. Be aware that the old pages (anything w/ "pegasus" in the URL) will be removed from the web in the near future. See the email sent to you for the new web pages (anything w/ "faculty.cah" in the URL).

6 MAR 18 (MTG 9)

  1. FRIENDLY REMINDER: No class meeting next week (13 March 2018) due to Mid-Semester Break.
  2. The next seminar meeting will focus on "Musical Comedies" in the late 1920s. Make sure that you have read Chapter 6 and listened to examples of Broadway shows, other than Show Boat

    For future seminar meetings (chiefly 20 Mar 18) and background

  3. Read Stempel, Chapter 7, "Broadway Songbook," noting songwriters, lyricists, and other individuals, shows, and songs emphasized by him. Be prepared for a general discussion of the readings.
  4. Continue listening to songs and shows by the Gershwins, Cole Porter, and Rodgers & Hart. Be aware that copyright restrictions will limit your online access to sheet music, but do search for streaming audio and any related materials (e.g., lyrics) that may be available.
  5. NB.: See the additional links for song lyrics added to the course home page. Beware when searching for Broadway lyrics that later performers may use altered lyrics, and you should therefore search for OBC ("Original Broadway Cast") recordings and other performers contemporaneous with the show's original production.

    6. Ongoing assignments and background information

  6. Instructions for the Book Review assignment assignment remain posted on the web site. Be aware that the first deadline is approaching.
  7. Continue working on your major projects. Remember that you will need to schedule a conference with me, or submit either a detailed outline or rough draft of the paper by the end of March.

27 FEB 18 (MTG 8)

  1. We will begin next week's meeting (6 March 18) with a close examination and discussion of Show Boat, focusing on Act I, as presented in the "original" version (McGlinn recording). In particular, be prepared with the following:
  2. IMPORTANT WARNING: Next week's discussion will include mention of the original production's opening chorus and similar racist language throughout the first act.
  3. Following the discussion of Show Boat, we will turn to a broad discussion of other shows in the post-WWI era, starting with revues. To support that discussion make sure you have done the following:
  4. For supplemental information on the Broadway Revue see any of the following very useful items:

    5. For future seminar meetings (chiefly 20 Mar 18) and background

  5. Read Stempel, Chapter 7, "Broadway Songbook," noting songwriters, lyricists, and other individuals, shows, and songs emphasized by him. Be prepared for a general discussion of the readings.
  6. Begin listening to songs and shows by the Gershwins, Cole Porter, and Rodgers & Hart. Be aware that copyright restrictions will limit your online access to sheet music, but do search for streaming audio and any related materials (e.g., lyrics) that may be available.
  7. NB.: See the additional links for song lyrics added to the course home page. Beware when searching for Broadway lyrics that later performers may use altered lyrics, and you should therefore search for OBC ("Original Broadway Cast") recordings and other performers contemporaneous with the show's original production.

    8. Ongoing assignments and background information

  8. Instructions for the Book Review assignment assignment remain posted on the web site. Be aware that deadlines are approaching.
  9. With the return of your bibliographies, you should begin to formulate your project's general outline. Remember that you will need to schedule a conference with me, or submit either a detailed outline or rough draft of the paper by the end of March.
  10. If anyone wishes to follow up on last week's discussion of sources, etc., the Kurt Weill edition of The Firebrand of Florence and my personal copy of the Rodgers & Hammerstein Carousel score are in my office. See me if you would like to borrow either item for examination and study.

20 FEB 18 (MTG 7)

  1. FRIENDLY REMINDER: Bibliographies (& accompanying essays) for your major projects are dues this coming weekend.
  2. New week's seminar meeting (27 Feb 18) will focus on two topics, after some brief discussion of operettas in the "Silver Age":
  3. In support of the first topic, read the following suggested items:
  4. For the discussion of Show Boat, complete these three tasks:
  5. For additional information on Show Boat, complete any of these optional but recommended tasks:
  6. For additional [OPTIONAL] sources, see:

    7. For future seminar meetings (chiefly 6 Mar 18) and background

  7. For the following seminar meeting, read Stempel, Chapters 6-7 on the 1920s, revues and songwriters. Be prepared for a general discussion of the readings. (More details to be posted next week.)
  8. For anyone interested in the evolution of "Tin Pan Alley," see: Jane Mathieu, "Midtown, 1906: The Case for an Alternative Tin Pan Alley," American Music 35/2 (Summer 2017): 197-236. [Project Muse]
  9. Bibliographies for your major paper will be graded and returned to you in the near future.
  10. Instructions for the Book Review assignment assignment remain posted on the web site. Be aware that deadlines are approaching.

13 FEB 18 (MTG 6)

  1. FRIENDLY REMINDER: the Bibliography Assignment is due this coming weekend (nominally due Friday, 16 Feb 18). Due to my travel this weekend, this assignment is now due on SATURDAY, 17 Feb 18, @ 5:00 pm.
  2. For next week's seminar meeting (20 Feb 18), continue reading and be prepared to discuss Stempel, Chapter 4, "The Native Wit."
  3. In particular, be prepared to contribute significantly to discussions of the following :
  4. To support the discussion of these topics, be prepared to show examples, i.e., know the URLs, etc., in any of the following:
  5. Also for next week (20 Feb 18), begin reading Stempel, Chapter 5, "The Cult of Romance."
  6. As time permits, we will look at operettas in general during the "Silver Age" (as prelude to Kern-Hammerstein's Show Boat).
  7. For the general discussion, in addition to Stempel, look at, listen to or otherwise examine the following (as indicated):

    8. For future seminar meetings (chiefly 27 Feb 18)

  8. Focus on Kern-Hammerstein's Show Boat, by completing these three tasks:
  9. For additional information on Show Boat, complete any of these optional but recommended tasks:
  10. The Show Boat discussion will touch of what constitutes an authoritative "Urtext" version of a Broadway show, and for that topic, read the following suggested items:

    11. Ongoing assignments

  11. Continue working your major paper and collecting relevant bibliography.
  12. Instructions for two book reviews (graded assignments due later this semester) have been posted on the course web site. Begin looking for a general history/commentary on Broadway (the whole or any range of years) and a specialized study on any aspect of the topic, including biographies, studies of single shows, etc. Remember, choices must be approved by me.

6 FEB 18 (MTG 5)

  1. Next week's seminar meeting (13 Feb 18) will pick up where we left off, with a discussion of European operetta and its influences on American light opera (Chapter 3). Be prepared (as you were last week) to contribute comments on the composers and shows noted in the textbook and your individual studies.
  2. Also for next week, read Chapter 4, "The Native Wit" (pp. 131-167), looking especially at how native U.S. performers begin to develop their own theatrical styles. To that end, look especially for:
  3. Remember to use YouTube (and other streaming sources) to identify relevant sound examples, and the Levy Collection (and others) to identify sheet music. Do be able to recall items quickly for class discussion.

    4. For future seminar meetings

  4. Looking ahead, begin reading Stempel, Chapter 5, on operettas in the early 20th century.
  5. Also, for two weeks ahead, begin learning Jerome Kern and Oscar Hammerstein's Show Boat in some detail.

    6. Ongoing assignments

  6. With project topics now returned to you, begin making any adjustments in the focus of your major paper and begin collecting relevant bibliography. See me if you have any questions aobut the comments on your topic.
  7. Friendly Alert: Instructions for two book reviews (graded assignments due later this semester) have been posted on the course web site. Begin looking for a general history/commentary on Broadway (the whole or any range of years) and a specialized study on any aspect of the topic, including biographies, studies of single shows, etc. Remember, choices must be approved by me.
  8. Instructions for the Bibliography Assignment remain posted on the course web site. Read and continue your work on this project.

30 JAN 18 (MTG 4)

  1. Reminder: Project topics are due this coming weekend, as an extension beyond the originally announced dealine. Proposals are now due on Friday, 2 Feb 18, at 5:00 pm.
  2. We will begin next week's seminar meeting with the final group presentation from last week's assignments, "revue."
  3. New for next week (6 Feb 18), read Stempel, Chapter 3, "A Transatlantic Muse" (pp. 94-128). In particular, take note of the impact of imported genres and how Americans accept, emulate, and adapt the theatrical styles discussed.
  4. Also as part of next week's discussion, be prepared to speak about your chosen performers (see the following item on how to prepare):
  5. For your study of these performers, do NOT prepare full-blown PowerPoint presentations. Rather, be prepared to speak about them from your seats as part of a larger "in the round" discussion of late 19th-century performers. In particular, note the following:
  6. Also as a later part of next week's discussion, be prepared to speak about your chosen composer(s)/genre/show(s) in a simlar fashion (as with the performers):
  7. As with the study of performers, remember that you will NOT be giving formal presentations. Rather you will speak about your chosen topics as part of a broader discussion of American theater in the late 19th century. In particular, be prepared with:

    8. For future seminar meetings

  8. For two weeks following (13 Feb 18), start reading Stempel, Chapter 4, "The Native Wit" (pp. 131-167). In particular, take note of how Americans begin to develop a distinctive theatrical style.
  9. Also, when reading, take note of major figures and specific works/productions that seem exceptionally important. (These may become assignments for next week or beyond.)

23 JAN 18 (MTG 3)

  1. Reminder: Project topics are officially due this coming weekend, but if needed, you are granted a one-week extension (until Friday, 2 Feb 18) to submit your topic proposal, without penalty. NB. No other (later) due dates for the major paper are affected by this one extension.
  2. Continue reading Stempel, Chapter 2, "Variety Stage," for next week's discussions.
  3. For your own edification (if you have not done so already, read all of the following articles in The Grove Dictionary of American Music, 2nd ed.:
  4. Group presentations for next week (30 Jan 18) are, in order:
  5. For the group presentations, please note the following points:
  6. Instructions for the Bibliography Assignment remain posted on the course web site. Read and continue your work on this project.

    7. For future seminar meetings

  7. For two weeks following (6 Feb 18), start reading Stempel, Chapter 3, "A Transatlantic Muse" (pp. 94-128). In particular, take note of the impact of imported genres and how Americans accept, emulate, and adapt the theatrical styles discussed.
  8. Also, when reading, take note of major figures and specific works/productions that seem exceptionally important. (These may become assignments for next week or beyond.)

16 JAN 18 (MTG 2)

  1. Complete any tasks remaining from last week's assignments.
  2. Instructions for the Bibliography Assignment remain posted on the course web site.
  3. For next week (23 Jan 18) Continue reading Stempel, including the Preface (p. xv-xx), Introduction (p. 1-15), and Chapter 1 (p. 19-51). In particular, be prepared to continue the discussion of:
  4. Also for next week (23 Jan 18), following the discussion, each of the three assigned groups will give its 20-minute presentation (in the following order):

    5. For future seminar meetings

  5. For two weeks following (30 Jan 18), start reading Stempel, Chapter 2, "Variety Stage" (pp. 52-93). In particular, take note of the various forms of theatrical entertainments discussed, and the nature and ways that music is used within those genres.
  6. Also, for 30 Jan 18, read the following articles in The Grove Dictionary of American Music, 2nd ed.:
  7. NB. Groups will be formed (next week) for presentations on these theatrical genres (30 Jan 18).
  8. Reminder: Instructions for the Major Paper/Project are also now available on the webe site. Read these carefully, and begin to formulate a topic for your work this semester.

9 JAN 18 (MTG 1)

  1. Locate the Course web site at http://pegasus.cc.ucf.edu/~swarfiel/MUH6935bway/6935bwayhome.html and bookmark this site for future reference.
  2. Read the course syllabus carefully to make sure that you understand what we will be doing.
  3. Send me an EMAIL from your knightsmail account, and in that message indicate that you have READ and UNDERSTAND the course syllabus.
  4. Read the article "Musical theater" in the Grove Dictionary of American Music, 2nd ed. (REF ML 101 .U6 N48 2013) [Reminder: a free scanner is available in the area close to the reference desk.]
  5. Acquire your textbook, Stempel, and begin reading the Preface (p. xv-xx), Introduction (p. 1-15), and Chapter 1 (p. 19-51). In particular, be prepared to discuss:
  6. For next week (16 Jan 18) prepare a brief (5-6 minutes maximum) presentation of your chosen bibliographic resource. (Reminder: this is the first step toward a bibliography paper comparing all of the assigned sources).
  7. Additionally, you may also look informally at the following Web sites via Links on Course Home Page:
  8. Also for the second week following (23 Jan 18), three assigned groups will each prepare a 20-minute presentation on a musical theater work of the 18th century. You may use any resources that you find useful, and you may divide your work and presentation in any way you think appropriate. Be sure to include (a) some general history on the work and the nature of the surviving sources, (b) a simple summary of the plot or stage actions, (c) descriptions and examples of the music, and (d) the reception of the work and its historical importance.