Banfield, Stephen 0.

Sondheim's Broadway Musicals

Introduction 1(10) Sondheim's Career and Output 11(50) The Hammerstein Connection 11(4) College Activities 15(5) A Student in New York 20(6) Journeyman Work 26(5) Sondheim as Lyricist: West Side Story 31(7) A Decade of Uncertainty 38(9) A Career in Full Flight 47(7) Into the 1990s 54(7) The Compositional Process 61(30) General Considerations 61(3) Lyric Sketches 64(4) Prosody 68(4) Music Sketches 72(4) The Score 76(3) Orchestration 79(7) Literary Sources 86(5) A Funny Thing Happened on the Way to the Forum 91(32) Farce as Genre 91(2) Plautus, New Comedy, and ``Trick'' Songs 93(5) The Score and Its Profile 98(3) The Broadway Matrix and Hispanic Features 101(6) Refrain and Motif Songs: Structural Ambiguities 107(6) The Meaning of Song Construction 113(1) The Whole Song 114(9) Anyone Can Whistle 123(24) The Motivic Score 123(1) Act 1 124(4) Act 2 128(3) Act 3 131(2) The Generic Scheme 133(2) Divertissement Songs 135(3) Symphonic Songs 138(3) A Score in Search of a Show? 141(6) Company 147(28) The Concept Musical 147(2) The Modernist Lyric 149(2) Urban Music 151(6) The Score as a Whole 157(3) The Need for Deconstruction 160(3) The Question of the Ending 163(3) The Four Last Songs 166(9) Follies 175(38) The Image in the Mirror 175(4) The List Song 179(2) Song as Folly 181(3) Diegetic Song 184(3) Character Groupings in Follies 187(9) The Pastiches 196(5) The Ghost Music 201(4) The Original Music 205(5) In Praise of Folly 210(3) A Little Night Music 213(36) Sondheim's Middle Period 213(2) Folly Once More, and Its Motifs 215(4) Period Tone: The Nineteenth Century 219(6) The Waltz and Its Symbolism 225(3) The Metric Fount: Hemiola 228(10) Character Dances and Further Rhythmic Resources 238(1) The Lyrics and Hemiola 239(4) Lyrics and the Luftpause 243(2) The Ending 245(4) Pacific Overtures 249(32) The Orientalist Tradition 249(6) Pacific Overtures as Historical Pageant 255(3) The Reflexuive Dimension 258(2) Aspects of the Lyrics 260(7) Multiple Perspectives in the Music 267(4) The Phrygian Matrix and Stylistic Unity 271(7) The Kabuki Element 278(1) Ritual Form and the Mimetic Interlude 279(2) Sweeney Todd 281(30) A Piece That Sings 281(4) Is Sweeney Todd Opera? 285(7) Diegetic Musical Motifs 292(5) The Dies Irae 297(3) Structural Processes in the Score 300(5) The Range of the Score 305(2) The Universal Ballad 307(4) Merrily We Roll Along 311(32) The Problem of the Show Musical 311(5) The Historical Metaphor 316(4) Concordances of the Reverse Narrative 320(3) Musical Planes: Frank and Gussie 323(4) Modular Furniture: The Popular Song Analyzed 327(8) Stylistic Unity and the Return to Broadway 335(3) The Show Song and Its Meanings 338(5) Sunday in the Park with George 343(38) The Joyous Synthesis 343(4) Wagner, Musical Impressionism, and the Synaesthetic Circle 347(4) Chromatic Theory 351(2) Chromaticism, Diatonicism, and Pointillism in the Score 353(3) Promenades 356(8) Theme and Variation 364(5) Toward a Fundamental Aesthetic 369(4) Sondheim Moves On 373(8) Into the Woods 381(30) A Fairy Tale Musical 381(6) Morals and Choices 387(3) Musical and Lyric Simplicity 390(5) Beans and Spells 395(6) Pentatonic Innocence and Children's Games 401(4) The Music of a Community 405(3) The Achievement 408(3) Selective List of Sources 411(10) Index of Songs and Musical Numbers 421(18) General Index 439