It can safely be said that when literary texts are utilized or adapted by a musician to create a new work of art, it is seldom that a diminished or lessened product results. Rather, such a merging usually enlarges & enhances both text and tune. These essays offer an analysis of several adaptations, and attempt to assess just what the musicians or writers have modified or changed from to the original as they re-form it into an altogether different media.

The Oxford Handbook of Musical Theatre Screen Adaptations traces how the genre of the stage-to-screen musical has evolved, from The Jazz Singer to The Wizard of Oz, Roberta, and Into the Woods.

It can safely be said that when literary texts are utilized or adapted by a musician to create a new work of art, it is seldom that a diminished or lessened product results. Rather, such a merging usually enlarges and enhances both text and tune, perhaps significantly changing the message of the original. Discovering exactly what the new form has to offer and how it relates to the text or melody that preceded it is often a daunting task, requiring a close examination of both the author’s and the composer’s intent. The essays in this collection offer an analysis of several adaptations, some successful, some not so successful, and attempt to assess just what the musicians or writers have modified or changed from to the original as they re-form it into an altogether different media. Ranging from Pasternak’s appropriation of Tchaikovsky to Britten’s operatic versions of Billy Budd and the Turn of the Screw, from Celan’s use of fugal technique in his “Todesfuge” to the way that the musicianship of several women writers found voice in their writing, a broad spectrum of collaborations is examined. As readers examine an author’s respect for a long dead musician (Hopkins’ admiration of Purcell) or as they discover how John Harbison worked to transform Fitzgerald’s musicality in The Great Gatsby, it will be evident that musical adaptations often provide a richness that the originals did not possess and that the potential for greatness is heightened when the arts intersect.

Broadway productions of musicals such as The King and I, Oliver!, Sweeney Todd, and Jekyll and Hyde became huge theatrical hits. Remarkably, all were based on one-hundred-year-old British novels or memoirs. What could possibly explain their enormous success? Victorians on Broadway is a wide-ranging interdisciplinary study of live stage musicals from the mid- to late twentieth century adapted from British literature written between 1837 and 1886. Investigating musical dramatizations of works by Charles Dickens, Charlotte Brontë, Christina Rossetti, Robert Louis Stevenson, and others, Sharon Aronofsky Weltman reveals what these musicals teach us about the Victorian books from which they derive and considers their enduring popularity and impact on our modern culture. Providing a front row seat to the hits (as well as the flops), Weltman situates these adaptations within the history of musical theater: the Golden Age of Broadway, the concept musicals of the 1970s and 1980s, and the era of pop mega-musicals, revealing Broadway's debt to melodrama. With an expertise in Victorian literature, Weltman draws on reviews, critical analyses, and interviews with such luminaries as Stephen Sondheim, Polly Pen, Frank Wildhorn, and Rowan Atkinson to understand this popular trend in American theater. Exploring themes of race, religion, gender, and class, Weltman focuses attention on how these theatrical adaptations fit into aesthetic and intellectual movements while demonstrating the complexity of their enduring legacy.

Based on the musical that inspired the Netflix film starring Meryl Streep, Nicole Kidman, Kerry Washington, Keegan-Michael Key, James Corden, Andrew Rannells, and Ariana DeBose! Emma Nolan and Alyssa Greene share the same goal: debut as a couple at their senior prom. Only a few things stand in their way—okay, maybe more than a few. For one, Alyssa hasn’t come out yet. It’s not that she doesn’t want to, but with a mother on the PTA who will stop at nothing to prevent same-sex couples from attending prom, it’s not a conversation she’s eager to have—with good reason. Before long, Mrs. Greene has the entire town backing her up, and it’s starting to look as though Emma and Alyssa won’t get their happily-ever-after. Then, out of the blue, two Broadway stars arrive on the scene to fight on the girls’ behalf (and get a little publicity along the way). But when their good intentions fall flat, it’s up to Emma and Alyssa to take matters into their own hands and show their small Indiana town—and the world—that love is love is love. ENGLISH DESCRIPTION Based on the musical that inspired the Netflix film starring Meryl Streep, Nicole Kidman, Kerry Washington, Keegan-Michael Key, James Corden, Andrew Rannells, and Ariana DeBose! Emma Nolan and Alyssa Greene share the same goal: debut as a couple at their senior prom. Only a few things stand in their way—okay, maybe more than a few. For one, Alyssa hasn’t come out yet. It’s not that she doesn’t want to, but with a mother on the PTA who will stop at nothing to prevent same-sex couples from attending prom, it’s not a conversation she’s eager to have—with good reason. Before long, Mrs. Greene has the entire town backing her up, and it’s starting to look as though Emma and Alyssa won’t get their happily-ever-after. Then, out of the blue, two Broadway stars arrive on the scene to fight on the girls’ behalf (and get a little publicity along the way). But when their good intentions fall flat, it’s up to Emma and Alyssa to take matters into their own hands and show their small Indiana town—and the world—that love is love is love.

A detailed analysis of the songs of Johannes Brahms.

What does it mean to author a piece of music? What transforms the performance scripts written down by musicians into authored books? In this fascinating cultural history of Western music’s adaptation to print, Kate van Orden looks at how musical authorship first developed through the medium of printing. When music printing began in the sixteenth century, publication did not always involve the composer: printers used the names of famous composers to market books that might include little or none of their music. Publishing sacred music could be career-building for a composer, while some types of popular song proved too light to support a reputation in print, no matter how quickly they sold. Van Orden addresses the complexities that arose for music and musicians in the burgeoning cultures of print, concluding that authoring books of polyphony gained only uneven cultural traction across a century in which composers were still first and foremost performers.