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Helpful 7-page reference guide for music to use in drama class. Includes 50 artists/albums and suggestions for using the tracks. Many drama activities call for music, and teachers often spend an extraordinary amount of time looking for just the right piece.
There's a lot to think about when you're planning to stage a drama. You'll need to combine a range of elements that are appropriate to your project, such as costume, language, sound and music.
Use of songs or music. Songs and dances are likely to provoke a more objective viewing, particularly if what you’re watching is serious and not the schmaltzy environment of a typical musical.
Dramatic Music Dramatic Artists MusicPacks Music for dramatic productions, including film, television, theatrical, and all production arts. Some of the leading production companies in the world have used our digital audio tracks in the production of award-winning motion pictures, television shows, commercials and more.

Theatre music

Operetta and allied forms
Oriental musical theatre
The history of theatrical music

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Associate Editor, Dance and Dancers, London. Member, Editorial Board, Opera. Assistant Music Critic, The Times (London). Area Editor, The New Grove Dictionary of..

Theatre music, any music designed to form part of a dramatic performance, as, for example, a ballet, stage play, motion picture, or television program. Included are the European operetta and its American form, the musical.

Music as an art of the theatre has its roots in primitive ritual and ceremony and its branches in every modern means of theatrical presentation. Its functions are as varied as the forms require and range from being the primary reason for performance, as in opera, to mere noise, filling a vacuum in imagination for some screen and stage presentations.

Theatre music is all music composed to govern, enhance, or support a theatrical conception. Music composed for theatrical purposes obeys different laws than does the music for concert performance or conventional opera. Whereas in opera the music dictates the form in which the dramatic visual imagery is presented and governs its development, in other kinds of theatre the music is, at best, an equal partner among its principal elements. In concert, of course, the music is the sole factor that determines the experience.

Strike force hereosspiter games unblocked. In the West, the concept of music as an intellectual experience for its own sake emerged only in the second half of the 18th century. Theatrical music is variously related to something other than itself, whether as an enrichment of words (as in operetta), a factor in structure and mood (ballet), or an intensification of situation and feeling (as in incidental music for plays and films).

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In some instances music is dominant, in some it is subservient, and in operetta or stage musical the emphasis alternates between speech, song, and dance. In opera and spoken drama, in which words are wholly sung or spoken, a convention once set is consistently sustained and thereby creates its own kind of reality. The constant change of focus in operetta and musical, from music to speech and back again, emphasizes the artificiality of the illusion they seek to create.

The classical mainstream of theatre music in the West extends from the mid-17th century to the 1930s, and the instances of drama and music meeting on an equal level of imagination are relatively few. More frequently great music was lavished on weak or corrupt theatre, or great drama was embellished with indifferent music. From the early 20th century new dramatic developments were seldom directly matched in music. A German-Italian composer, Ferruccio Busoni, wrote in 1906:

The greater part of modern theatre music suffers from the mistake of seeking to repeat the scenes passing on the stage, instead of fulfilling its own proper mission of interpreting the attitudes of the persons represented.

The German composer Kurt Weill’s score for Der Silbersee (1933; The Silver Sea) was the last major musical contribution to a serious play requiring a full orchestra and chorus. Thereafter, for economic reasons, the dramatic theatre had to equip itself with small-group music or prerecorded tapes. The orchestra and chorus became the prerogative of stage musicals and films. The more these were commercially debased the more they came to rely heavily on the clichés of 19th-century music, to the exclusion of newer musical developments.

Producers of stage musicals, the choreographers of dance, and the directors of drama need to be wary of the properties of music. It is more demanding of attention than is often thought, and its use should ideally be confined to circumstances where it can provide something that none of the other theatrical elements can offer. The more its qualities are understood and respected, the better it can be guided to an effective theatrical purpose.

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Music for ballet

During the 20th century the element of music in all forms of ballet has changed and developed its significance to an unprecedented extent. It has acquired the status of an equal partner with the choreography, where once it was entirely the servant of the ballet master. In the 19th century he asked little more than that the music should decorate his ballets prettily and give rhythmic support to the movements of the dancers. His modern successors have been made aware that the highest level of balletic achievement now requires the music and choreography to become extensions of each other, to be heard and seen on equal levels of perception.

The finest modern choreographers are not content simply to ride the surface of their chosen music, whether it is specially written, borrowed, or adapted. They seek to exploit the relationship of eye and ear, recognizing that the effect of any danced step can be changed by the stress of the musical rhythm, the degree of loud or soft in its dynamics, the nature of its harmonic character, and the expressive quality of its instrumental timbre. All these factors can make a positive contribution to the balletic image, and they give coherence to the sequence of movement as they merge into its continuous momentum.

Dod cac card reader software for macadvantageload. Until the end of the 19th century, each new ballet customarily had music specially composed for it, but it was rare for any composer of distinction to write ballet music, unless it was part of an opera. There were exceptions—such as Beethoven’s score for Die Geschöpfe des Prometheus (1801; The Creatures of Prometheus), originally a ballet by an Italian choreographer, Salvatore Viganò—but the great era of Romantic ballet from about 1830 was seldom enhanced by music of intrinsic worth. When ballet gained a musical interest, the difference was soon apparent; it has been well said that Léo Delibes gave ballet music a heart, Pyotr Ilyich Tchaikovsky gave it a soul, and Igor Stravinsky made an honest woman of it.

Stravinsky was the dominating figure for nearly half a century (beginning in 1910) in composing music for ballet. He gained international acclaim with the first products of his collaboration with the Ballets Russes of the Russian impresario Serge Diaghilev: The Firebird (1910), Petrushka

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